What I find insanely great is the mastery of light the camera gives for vfx integration ... the waterfall and "belly" scenes will be studied for decades.
I saw Prometheus yesterday. It looks amazing. Period. It answers every stupid question out there.
Saw it yesterday at midnight (opening night in Mexico City) in IMAX 3D and was blown away by the movie itself and by the quality of the image. Hadn't seen and enjoyed such a good movie in a long, long time, and not much else comes quite close in terms of image quality.
Congratulations, Jim. What you have achieved in just 6 or 7 years is a truly remarkable achievement and is now an important part of Cinema History. Thanks for letting us be a part of it.
Congratulations Jim. It looks amazing. Saw it twice already.
I'm so glad I have the little sister scarlet and leica lenses, what beautiful grain it generates!
I haven't been to the cinema for years (I can watch 2K videos at home, thanks very much). But I will see Prometheus in a cinema. For several reasons, one of them being the cameras. :-)
Great response from Dariusz.
I guess you're doing something right Jim.
Perhaps the most amazing part to me is being able to own the same camera... not to imply that owning the hardware is enough to make anyone a Scott or a Wolski, but having access to a tool is the first step to learning to master it. If it were up to Arri or Panavision (or Sony or Canon for that matter), I am certain that cameras like this would still be out of reach for most of us. There is a lot of great work to come which simply wouldn't have been possible in an era where the 535 was king.
So congratulations to Red for the mainstream success, but also a huge thanks for keeping the price below what Super16 used to cost. I believe Jim is personally responsible for this, and for the tremendous generosity surrounding upgrades - hopefully he hears it enough, but I for one am sincerely grateful. I'm not sure how many of us will ever do work on the level of Scott and Wolski, but I sure appreciate the possibility!
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