Ridley Scott to direct 'Raised by Wolves', Sci-Fi drama series

Started by Ingwar, Oct 08, 2018, 07:05:23 PM

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Ridley Scott to direct 'Raised by Wolves', Sci-Fi drama series (Read 130,980 times)

𝔗𝔥𝔢 𝔈𝔦𝔤𝔥𝔱𝔥 𝔓𝔞𝔰𝔰𝔢𝔫𝔤𝔢𝔯

Interestingly, here is an article that mentions the use of Epic Dragon's on Alien: Covenant. It sounds like they used a Shotover Hydra multi camera array with six Dragons for aerial shots.

https://www.avpgalaxy.net/2016/04/06/aerial-film-australia-talks-alien-covenant/



Quote from: TC on Aug 14, 2020, 09:49:56 AM
Incidentally, Prometheus was also native 3D. Covenant was intended for the same treatment but I believe budget cuts got in the way. Besides, post-3D had gotten much better by then.

TC

It sounds like Ridley was keen on shooting it in 3D but then the studio decided the fad was over but then later did a u-turn again:

QuoteAnother difference between Covenant and Prometheus is that you didn't shoot in 3D this time.

Scott: I wanted to shoot Covenant in 3D, but somebody supposedly wiser than us up there decided that the days of 3D might be over, and therefore we didn't do that. Now, of course, it's finished and somebody mumbled, 'Can we do this in 3D?' I said, 'Well, it's a bit late, dude.'

Wolski: For me, it was great going back to old-school filmmaking and shooting Covenant in 2D. The first Alien was 2D. I do think that initially my experience with 3D was a big part of why Ridley was interested in me for Prometheus. That was a huge challenge, shooting 3D with those multiple cameras Ridley favors. At that time there was a big trend toward shooting everything in 3D, and I think it was largely because of economics — because Avatar had made so much money. Everybody thought the whole world was going to turn 3D, but I never believed in that.

Scott: I don't think 3D is going to go away. I love it, because we actually see in 3D. In your head, you've basically got two cameras side by side separated by the width of your nose. When you film and project 3D properly, it's not a barrier; it's taking you back to something you've been used to since birth. There's still a lot to be explored there. One thing that would have been nice to do on The Martian would have been to shoot all the interiors in 2D, then when he goes outside flip to 3D. But we can't do that yet.

SiL

Quote from: Ridlazz921 on Aug 14, 2020, 12:46:40 PM
No
Yes. If you wanted to capture large scenes with stunts wide and be able to reframe, or get large plates for VFX and needed a higher resolution it makes sense to not use a 3.2K camera.

Not everybody does it and I'm not saying it was done in this situation, but using different cameras, lenses and stocks to create VFX shots compared to the dramatic scenes has been a common practice for decades.

Helll, I'm doing it on my next project. Blackmagic Pocket Cinema Camera (the original D16mm version) with vintage lenses for dramatic scenes, BMPCC4K with Canon cine primes or VFX shots.

It's 100% a thing people do.

Ridlazz921

Ridlazz921

#542
When the RED camera is visable during every BTS video and image, it doesnt make sense that they used the Alexa for smaller scenes :P
When they got the RED :P
The large format camera.

Hell i am shooting on the BMPCC 4k with vintage lenses too. We got the 4k, we are not gonna switch to the original BMPCC camera when we got the 4k :P

Thats what doesnt make sense. I know u can shoot VFX with more high end cameras. But it doesnt make sense that hey used a 3.2K camera when every BTS footage shows that they shoot on the RED :P


I highly doubt they said: All right boys, lets put those 6K / 8K cameras we rented for the whole shoot, in the corner and switch to a larger heavier 3.2k camera for this small intimate scene. And BTW Ridley want five of those too. Its hella expensive but hey, we want to use another camera for this scene, just because we can...

SiL

SiL

#543
I've said several times I don't think they did it on the shoot on account of the evidence, why do you keep bringing that up? ???

Quote from: Ridlazz921 on Aug 14, 2020, 10:59:19 PM
Hell i am shooting on the BMPCC 4k with vintage lenses too. We got the 4k, we are not gonna switch to the original BMPCC camera when we got the 4k :P
The original and the 4K have very different sensors and produce notably different images. I prefer the image on the original, which is why we're using that as the primary camera. It also couples together with the Zeiss Mk 1 Primes and vintage soviet lenses I have better than the 4K to create a 16mm film look.

And that's exactly why even big film productions switch between the two cameras. The DP may prefer the qualities of one camera and want to use it as much as possible, and switch to another for technical reasons when they have to. Again, this has been fairly common practice for decades.

EDIT

Technical or creative reasons, I should've said.

Ridlazz921

I know :P



My original pocket cam is worn the hell out. Its been used a lot, so it has some personality to it these days. Battery glitches and all that fun stuff.

I invested in the URSA 4k just before the Pocket 4k came out, talking about throwing away money. Now its just decor for the living room.

But vintage lenses on Digital cameras can be a lot of fun.
But i stick to my angenieux 25-250. I like to shoot fast so it helps a lot.

SiL

I'm just hoping I get through this project with mine. Sometimes it doesn't recognise the power is plugged in which is stressful to say the least.

I really don't like what they've done with the look from the new cameras so I'm resisting the upgrade as long as I can. If only the digital bolex hadn't died as quickly as it did ...

Ridlazz921

I hated my friend for showing me the Bolex!
Show me something that i want, that i cant get....It looked really good.

I can recommend using the Black Satin or Pro Mist filters to give it that extra glow in the image.
U gonna use some 16mm grain overlay or film convert?

RidleyScott99

Sorry. Yeah. I remember badly an old article in Deadline Hollywood. Ridley Scott talked about PROMETHEUS, THE COUNSELOR, EXODUS: GODS AND KINGS and THE MARTIAN. It was a very long article in September 2015 in Deadline Hollywood about Ridley Scott

TC

Quote from: The Eighth Passenger on Aug 14, 2020, 06:22:43 PM
Interestingly, here is an article that mentions the use of Epic Dragon's on Alien: Covenant. It sounds like they used a Shotover Hydra multi camera array with six Dragons for aerial shots.

https://www.avpgalaxy.net/2016/04/06/aerial-film-australia-talks-alien-covenant/

According to Cinefex #153 the six Epic Dragons were used for VFX backgrounds for aerial footage from Milford Sound, New Zealand. The images were stitched together to make a very high resolution equivalent of an 11mm lens, which served as bg for the lander over-flying the terrain. With such hi-rez footage, they could crop a smaller window moving around the combined plate, simulating camera pans and tilts, appropriate to the flightpath of the lander which was composited on top.

(As if anyone but me finds this kind of stuff interesting.  :laugh:  )

TC

SiL

Quote from: Ridlazz921 on Aug 15, 2020, 04:41:31 PM
U gonna use some 16mm grain overlay or film convert?
It's t's tempting, but we'll see how much noise comes out of the 800ISO footage before I go too crazy :D

Ingwar

Guys, I have no idea what are you talking about ;D.

Le Celticant

Quote from: Ridlazz921 on Aug 14, 2020, 10:59:19 PM
When the RED camera is visable during every BTS video and image, it doesnt make sense that they used the Alexa for smaller scenes :P
When they got the RED :P
The large format camera.

Hell i am shooting on the BMPCC 4k with vintage lenses too. We got the 4k, we are not gonna switch to the original BMPCC camera when we got the 4k :P

Thats what doesnt make sense. I know u can shoot VFX with more high end cameras. But it doesnt make sense that hey used a 3.2K camera when every BTS footage shows that they shoot on the RED :P


I highly doubt they said: All right boys, lets put those 6K / 8K cameras we rented for the whole shoot, in the corner and switch to a larger heavier 3.2k camera for this small intimate scene. And BTW Ridley want five of those too. Its hella expensive but hey, we want to use another camera for this scene, just because we can...

Most behind the scenes I saw had the Arri Alexa.
Usually Post house like the Red for doing C Cam VFX related stuff because for two reasons:
-extra resolution (even if it's not perceptually sharper because the actual gain is kind of a lie since you need to multiply the camera (especially Red) photosites by 0.7 to obtain the actual debayering resolution which is what Arri always gives you as a technical detail which is also why you had such number as 2.8k for the Classic EV and 3.2K for the current Alev III gen which both correspond to 4K acquisition and 5K. Both codec could easily be re-warp into higer res with no trouble and compete against a Red.) is useful for tracking shots and the deep learning love the pixels. It's not necessary sharper but it's definitely giving a bit of a boost in these areas that requires intense motion datas.
-Real time playback. Arri is pure 12bit log or 16 bit linear footage. A lot of highend production choose to shoot with Arriraw which is very CPU intensive and has very limited GPU support even if it got better in recent years. When you're doing VFX, you need all the speed you can and Redcode Raw is super fast. I can easily playback 8K debayered at Full Res on my Color Grading station (32 Thread) and is super NVIDIA friendly which is what the industry loves.

Not everything is about resolution, in fact very little considering you likely saw Covenant in 2K (even if you were advertised for 4K Imax, it's likely they just oversampled a bit the master file like we always do because... truth is your eyes can't see a thing beyond that resolution and what got better in recent years are bandwidth, contrast and bit depth which all three account for far more details preserved than resolution [I strongly advise you watch Steve Yedlin technical demo about this, it's very well explained]).
The Alexa still has unmatched capability in terms of sensitivity which is why a lot of DoP prefers it over the Red. That being said a lot of the difference has shrinken in the last year, so much that the BMPCC4K almost felt like an Alexa on the shoot (they both share the same sensor manufacturer "ON Semic Conducter" after all, blackmagic is kind of the little cousin to Arri) but where Arri shine most is the form factor. Red sucks for that, it overheat, the cable management is a pain and their camera feels made in "to be broken soon" while you can easily feel when holding an alexa that it may fall from an Helicopter or Burn in an accident and the camera may still be pretty okay aside the cosmetic look.

Quote from: SiL on Aug 14, 2020, 11:52:40 PM
I'm just hoping I get through this project with mine. Sometimes it doesn't recognise the power is plugged in which is stressful to say the least.

I really don't like what they've done with the look from the new cameras so I'm resisting the upgrade as long as I can. If only the digital bolex hadn't died as quickly as it did ...

Kinda Off Topic but...
Just finished a feature film this summer with the Pocket 4K as a DP, kind of a first to use this camera.
loved it all the way, its latitude is wide enough so the camera can be repurposed as any look desired.
We went in Prep with a 35mm look in mind. Could have increase the LPF and adjusted the grain to match my favorite 16mm stock though.





I loved the original Pocket for sure but I do feel the BMPCC4K is a step up... or a cross step between their original BMCC 4K (the body looks very similar) and the Pocket. But they all have tragic form factor, never had so much pain in cable management and good thing we had a lot of spare on the shoot.

TC

Quote from: Le Celticant on Aug 16, 2020, 02:57:04 PM
Kinda Off Topic but...
Just finished a feature film this summer with the Pocket 4K as a DP, kind of a first to use this camera.
loved it all the way, its latitude is wide enough so the camera can be repurposed as any look desired.
We went in Prep with a 35mm look in mind. Could have increase the LPF and adjusted the grain to match my favorite 16mm stock though.
...
I loved the original Pocket for sure but I do feel the BMPCC4K is a step up... or a cross step between their original BMCC 4K (the body looks very similar) and the Pocket. But they all have tragic form factor, never had so much pain in cable management and good thing we had a lot of spare on the shoot.

I don't own a BMPCC but I looked at your node graph anyway. Maybe I can learn something!

So you shot a Blackmagic RAW or some kind of ProRes LOG profile but preferred the AlexaLog node to bring it to Rec709. Is this better than the standard BMD LUT?

Is it normal to put the Kodak 23(83) LUT in the middle instead of at the end?

TC

Le Celticant

Quote from: TC on Aug 16, 2020, 05:16:08 PM
I don't own a BMPCC but I looked at your node graph anyway. Maybe I can learn something!

So you shot a Blackmagic RAW or some kind of ProRes LOG profile but preferred the AlexaLog node to bring it to Rec709. Is this better than the standard BMD LUT?

Is it normal to put the Kodak 23(83) LUT in the middle instead of at the end?

TC

I'll PM you to keep the topic on track.


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