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 RED shoots side by side Film on "Wanted"
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PostPosted: Sun Mar 30, 2008 10:30 pm    Post subject: RED shoots side by side Film on "Wanted" Reply with quote

This was recently posted online by Jon Farhat, Visual FX Supervisor on "Wanted". I figured this best fit into the Success Stories section:

"My name is Jon Farhat. I was the visual effects supervisor and it was through my association with Mr. Jannard that we agreed to introduce the RED camera prototype to the film's DP, Mitch Amundsen.

We were all aware that the camera was in it's early stages, beginning at the point of only an ON/OFF button.

Even then, the images we captured, (albeit a slightly different file structure) the images were stunning. We decided, with the DP that we would take on the project of using the camera, assuming constant updates of software and bodies as the show progressed, and shooting alongside our film cameras. We were also excited to be the first feature film to use RED.

The association proved invaluable. Jim has always been committed and honest to any project he tackles. And this commitment to our show, at his cost of equipment, travel and living and even placing a tech with our show is just what you would expect of this guy. It was a real class act.

Mitch was able to offer invaluable advice about the ongoing construction of the camera. Todd Schlopy the first AC was a gold mine of ideas and constructive criticism along with our operators George Richmond and Chunky Richmond.

Over the course of the movie, Jim flew out 4 times, each with new bodies, and improved software, much of which were gleaned from the previous trips. During those times, we shot about 10 scenes, alongside the film cameras. Mitch, George, Chunky and even myself all operated.

Before we left Prague, we took the footage shot so far and filmed them out. We scanned the film at 4k, and for every shot would follow with a 4k from the RED. Both were color corrected in the Baselight to match. I screened the results for Mitch and his team. They couldn't tell the difference. Seriously. And Mitch and Andy have sharp, sharp eyes. Mitch did however figure it out when he pulled the mask and the RED aspect ratio was 2:1 instead of the 1.77 (16:9) we were contracted by the studio to deliver. It wasn't until later that RED opened the sensor up to 16:9.

In fact, it would be that 2:1 AR that would begin our problems to intercut the RED footage in the film. And, since we just shot side by side, we already had a film take. Had we shot the entire film with RED, it would have been much easier, but instead it wasn't until the show really finished shooting, that the camera was getting ready for the war.

Back then, we didn't have all these great software tools for extracting and converting the image. Metadata wasn't fully implemented. Yet, it was apparent to all, that this was a special moment in filmmaking and the camera crew embraced it, even if the only result was to have the camera they'd been dreaming of, by the time the show ended.

In Summary:

Wanted shot with RED, along side film. Not for the entire movie, but for many scenes. Maybe Universal will let me show it to you all, but certainly not until the film opens. It was one of the most successful collaborative ventures I've ever been involved in. I know that, with the input from the Wanted crew and the blessings of Timur and the producers to allow us to put this camera to task on their set, because of this cooperation, RED is the camera it is today.

I still have that film, the neg and files and I dare anyone to tell the difference. We had to dumb the RED down a bit but it totally inter-cut. We are still trying to intercut a couple shots, just to dare anyone to find them.

I hope this clarifies some of the confusion of the Wanted RED issue and what the purpose of the alignment is."

Jon Farhat


[Edit: It is believed that RED footage was not used in the final cut of "Wanted", but that valuable information was gained for the development of the Camera.]

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