Shooting The Creator with Oren Soffer
Вставка
- Опубліковано 9 вер 2024
- Despite an $80m budget, sci-fi film The Creator chose to use Sony FX3 cameras equipped with Atomos Ninjas to shoot the epic war between humanity and AI.
Co-cinematographer Oren Soffer explains why in this extract from an interview with Creamsource’s Mark Naidoo at an event at Georges Cameras in Sydney this week.
Soffer explains in the interview: “Once you tap into (ProRes) RAW and record onto the Ninja, it puts it onto the level where you realize you can intercut it with footage from an Alexa and not notice the difference.”
#Hollywood #Atomos #Ninja #NinjaV #ProRes #Apple #ProResRAW #MonitorRecorder #Filmmaking #Filmmakers #Filmmkrs #Record #MakeMovies #Cinema #Sony #SonyFX3 #SonyCine #Cinematography #Video #Videography #Lenses #Camera #CameraSetup
I would love to know their color grading pipeline for this film
We're in an age we're we can achieve Alexa-like imagery from prosumer cameras. Get out there and make stuff people!
FINALLY!. About time Atomos Ninja V got some love.
I agree the camera it self could not hold up without the exporting protest through the ninja v
I feel like we are being lied to about how they shot this film. What actual difference would have been made using an Arri Alexa Mini in terms of footprint when you have a crew of 10+ people with you everywhere you go? I guess Gareth wouldn't be able to cam op a heavier rig? It honestly kind of feels like they were paid by Sony to do marketing for their camera. Like just look at the BTS footage and it is a bit absurd how despite the small the camera, the gimbal actually keeps the rig somewhat large.
You’re probably right but at the same time me and many others I know didn’t even notice that this was shot on a $4K camera body. Yes the lenses used are insanely expensive but the body itself is small. If this was a paid thing it’s honestly a good thing tho. Competition creates cheaper products. It’s not like these guys couldn’t have used a Sony Venice 2 either.
The same logic for unlocking the camera with the ninja could be applied to the BGH1 or BS1H. Both stelar cams when paired with the Ninja V.
I know I'm going to sound like a pedantic jerk correcting the DP, but the external RAW recording doesn't have more dynamic range than the internal codec. SLOG-3 captures is capable of containing more DR than the sensor can produce. There may be other reasons to choose to record RAW externally (less compression, higher bit depth, etc.) but dynamic range isn't one of them. I only mention it because Oren says it multiple times and I wouldn't want someone to base a buying decision off of this one factor.
Isn’t SLOG-3 recording in 10-bit, while RAW is 12-bit?
@@DavidManouchehriYes, that’s bit depth. Nothing to do with dynamic range.
@@Humcrush With 12-bit, you have four times the tonal gradation. It’s easier to pull details out of shadows and highlights.
Maybe a better way to say it, would be “more usable dynamic range” instead?
ProRes RAW offers highlight recovery. Extra stop.
You can't really claim that some variable amount of synthesized information is an extra stop of real DR. And while it's not as easy as a checkbox, you can do with this any RGB signal in which some channels clip before other channels.@@CameraJams
I am wonder to know how they color grade Proress RAW...
They didnt, it was just transcoded to prores 444 and then processed. so this is clearly just marketing for useless gear.
@@antonstafeyev3606bro’s mad they didn’t use his overpriced LF cam for this film. Lmao
They must be really annoyed that absolutely no one is talking about the storie and the actors.
Well, to be fair the story and the acting were middling at best - certainly not boundary pushing. (I was hoping for some real "hard" sci-fi with a thought provoking exploration of A.I.)
Because the story was beyond mediocre
@@grey.fox. that’s not the point.
@@David_Schwarz_DOP I mean look at the reviews, no one's talking about that for a reason. Frankly, I wouldn't be surprised to hear that the production budget was subsidized by these manufacturers because there's really no reason not to use an FX6 in some of these instances we see in the BTS.
They are using how they filmed and the budget they worked with to promote the film. Did you really think this isn't part to promoting the film?
Bullshit, raw is just as good as internal XAVC-I. the whole movie is there to push for Sony RAW via ATOMOS ProRes RAW which is barely usable. Can you make a movie out of it ? Yes as we can see here, is it the most efficient way ? no. They had to use FX9 when camera sync was needed. So many workarounds just to promote FX3, Atomos and other consumer crap. The whole movie is an advertising for certain cinema gear which worked well.
the more I watch these interviews, the more I realize this film was probably sponsored by Sony. I don't believe they had any benefit from the FX3 over using actual cine cameras. It is a nice idea that a pro-sumer camera can produce Hollywood level imagery, but look at the rig Gareth had to hand hold with the gimbal. It is just as large as a an alexa mini or Red Komodo would be.
@@LFPAnimations”Hollywood level imagery” bud almost all movies from Hollywood around the early 2000s were on cameras that shot no higher than 2K resolution. Those were and are considered Hollywood movies aka “Hollywood level imagery”
@@GhosTigre what is your point? Resolution is the least important factor in image quality past 2K. That’s why most theaters still project in 2k. Color, compression factor, and dynamic range are the real sauce. My point was that it is cool FX3 can compete on those factors, but at the scale of a hollywood production, the cost of the camera doesn’t matter.
Btw pretty much all early 2000s films were shot on film because digital wasn’t good enough yet.
@@LFPAnimations that’s 100% 🧢 nice try bud
@@LFPAnimations why is a stop motion animation creator even on this page? Lmfao