At REDucation’s Open House last summer in Los Angeles, attendees were privileged to see a short preview of Fedor Bondarchuk’s Stalingrad in 3D. The Russian movie was shot on RED EPICs with 3ality Technica 3D rigs. Now that the film has an international distributor, a wider audience will get to experience what Open House attendees saw.
Television commercial director, Mark Toia, recently shared an astounding video of the Southern New Zealand landscape. While flying to different areas for a Natural Gas Australia commercial, Toia mounted a REDEPIC within a SHOTOVER – an aerial stabilization platform – to capture the visually stunning journey from Queenstown to the various shooting locations.
Though the video depicts a breadth of ecosystems and altitudes, all of the footage shown was shot in less than 3 hours.
This is the second installment in Peter Jackson’s trilogy detailing J.R.R. Tolkien’s account of the adventure of Bilbo Baggins. The trilogy has garnered much discussion throughout the film community with Peter Jackson’s ground breaking decision to utilize 40-plus RED EPICs to shoot the movie in 3D at a frame rate of 48fps.
The Hobbit: The Desolation of Smaug opens in theaters on December 13, 2013.
This Is The End, the apocalyptic comedy directed by Seth Rogen and Evan Goldberg, premiered on June 12 and has been met with high praise from both critics and audiences. Cinematographer Brandon Trost used REDEPIC cameras with Panavision G Series anamorphic lenses when shooting the all-star comedy cast. Be sure to check out James Franco, Seth Rogen, Jonah Hill and more in This Is The End in theaters today.
Sofia Coppola’s movies have always shown a distinct film look. She’s eschewed gloss and spectacle (with the possible exception of Marie Antoinette) for intimacy and lingering images. The Bling Ring is Coppola’s first digitally shot feature. The look of the film is “more Pop, as in Pop Art," she told IndieWire. In the DGA Quarterly, she explained the difference in shooting digitally:
It feels more immediate, and since you’re not limited by the film in the camera you can go on and on and have really long shots.
Based on the true-life story of several teenagers who robbed celebrities, The Bling Ring looks to push Coppola’s aesthetic in the opposite direction of her last film, Somewhere — also a contemporary story about Los Angeles but with a distinct languorous, slowed-down feeling of reality.
Red Bull brought along their RED cameras to capture Raimana Van Bastolaer, Maya Gaberia and Carlos Burle as they took on the powerful waves of Teahupo’o, Tahiti. Teahupo’o — which loosely translates to “place of skulls” — was in full force this year and riders across the globe came to catch some of the deadliest waves in the world. Check out this video, shot on EPIC, and watch these brave surfers face some of the Pacific’s most dangerous waters.
This Sunday, the critically-acclaimed sitcom, Arrested Development returns as a Netflix Original series with 14 new episodes. The show — which followed the trials (literally) of the Bluth family — had its run on network television abruptly end with a truncated third season in 2006.
This coming Sunday, HBO premiers Steven Soderbergh’s latest film, Behind the Candelabra, starring Matt Damon and Michael Douglas. Based on the memoir of Scott Thorson, the movie describes the life of Liberace and his live-in lover Thorson. Soderbergh spoke to Vulture a few months ago and talked a little bit about the movie and his career in general. The interview includes this insightful advice for aspiring filmmakers:
What do you think people mean when they call a film Soderberghian?
I have no idea. But never use that word to describe your movie in a pitch meeting because it won’t get made.
Behind the Candelabra premiers on May 26th on HBO.
The Hollywood Reporter explores the use of 3D in The Great Gatsby and other films in a new article. Director Baz Luhrmann reportedly made the decision to shoot in 3D after seeing a screening of Hitchcock’s Dial ‘M’ For Murder in its original 3D version.
Steven Soderbergh spoke at the San Francisco International Film Festival last month on the “State of Cinema.” The entire talk is engaging and worth watching. A few short comments on technology deserve attention:
I love all this new technology, it’s great. It’s smaller, lighter, faster, you can make a really good-looking movie for not a lot of money, and when people start to get weepy about celluloid, I think of this quote by Orson Welles when someone was talking to him about new technology, which he tended to embrace, and he said: “I don’t want to wait on the tool, I want the tool to wait for me,” which I thought was a good way to put it.