[opendtv] Re: 20040921 Twang's Tuesday Tribune (Mark's Monday Memo)

Rule.

LAS VEGAS, NAB Booth #L12107, April 9, 2000 -- George Lucas has formally 
announced that he will shoot the next episode of Star Wars: Episode II using 
digital 24 frame progressive high definition in place of film for most of 
the movie's live action scenes following four months of systematic testing 
by Lucasfilm Ltd. and Industrial Light & Magic (ILM), a division of Lucas 
Digital Ltd.

Using a prototype digital acquisition system consisting of a Panavision 
modified Sony HDW-F900 integrated camera recorder, a series of carefully 
prescribed tests were initiated by teams from ILM and Lucasfilm working in 
conjunction with Sony and Panavision. These tests, which include image 
performance and system functionality culminated in comparative shoots with 
motion picture film, convinced George Lucas and producer, Rick McCallum of 
the benefits of shooting in digital 24P at 1920 x 1080 HD sampling.

"The tests have convinced me that the familiar look and feel of motion 
picture film are fully present in this digital 24P system, and that the 
picture quality between the two is indistinguishable on the large screen," 
said Lucas.

"It's an exciting step that we are taking, and working with Sony and 
Panavision, we plan to further advance this system over the coming years," 
continued Lucas. "Star Wars: Episode II is our first giant step."

The prototype digital cinematography system consists of a Panavision 
modified HDW-F900 with a new Panavision viewing system and other 
modifications, one of which enables the use of Panavision's extensive range 
of film style accessories.

In order to meet the image quality required by Lucasfilm, Panavision has 
also developed a brand new series of Primo Digital(TM) lenses. The ultra 
high speed F1.5 lenses have been custom designed to maximize the performance 
of the HDW-F900, enabling the image performance that helped convince Lucas 
and McCallum.

In November 1999, Sony delivered the Phase I prototype camcorder to 
Panavision, which physically converted the camcorders to accept its newly 
developed cinematography lenses and associated accessories.

Following preliminary system testing at Panavision, the ILM/Lucasfilm tests 
were initiated in January 2000 and continued through February and early 
March. These tests included separate optical, digital camera, and digital 
recording tests ultimately leading to integrated system operational testing. 
The latter encompassed subsequent computer processing of the digitally 
captured images.

"These tests included a series of comparative shoots in which they shot a 
variety of scenes in parallel with motion picture film, including interior 
and exterior scenes, close-up and wide-angle takes, and a series of complex 
blue-screen composite shots," said Larry Thorpe, vice president of 
acquisition systems for Sony Electronics' Broadcast and Professional 
Company.

"They made sure to compose all scenes for a final 2.40:1 aspect ratio, which 
also involved extraction of this widescreen format from the 16:9 digital 
capture. They used large format VistaVision film for the reference film 
origination," continued Thorpe.

The tests also explored different technologies for the transfer of digital 
to motion picture film. The proprietary ILM transfer system, the EBR system 
of Sony, and the laser recorder system of E-Films of Los Angeles were used 
to transfer the digital material to 35mm film. The VistaVision film 
originals were processed to a 35mm-film release print. The two 35mm films 
were viewed on a large screen at the Skywalker Ranch Stag Theater on March 
10.

"The tests were really quite astonishing," said Jim Morris, president of 
Lucas Digital. "The image quality of the new Sony camera and the Panavision 
lenses exceeded our expectations, and really validate the 24P system as a 
great new tool for moviemaking. All of our hopes about doing digital capture 
for the big screen have started to be realized, and we are extremely jazzed 
by the possibilities."

"This is the exciting dawn of a new era in moviemaking," said Star Wars 
producer Rick McCallum. "There is no turning back. It is being born within 
an environment of super teamwork among our people at ILM and Lucasfilm, and 
the folks at Panavision and Sony. We set the bar high for digital HD imaging 
and they have responded magnificently. We intend to cut through all of the 
industry angst and thrust 24P digital HD squarely onto the moviemaking 
stage. Star Wars: Episode II will do just that," he added.

"We start shooting Episode II in Australia in June, " McCallum noted. "All 
of the sets are in final stages of construction. In August, the shooting 
will move to Italy and to Tunisia. We will shoot for a total of three months 
and then we plan to spend about 18 months in postproduction."

"We brought optical design to a new height in meeting the challenges of 
developing cinematography lenses for the small 2/3-inch image format," said 
John Farrand, president and CEO of Panavision. "Our mission was to provide a 
complete system for digital cinematography enabling Panavision's goal of 
providing our clients with the very best in digital and film acquisition 
systems. These tests show we are well on our way to meeting that goal."

"Clearly, this is the realization of a vision we have held at Sony for quite 
some time," said Ed Grebow, president of Sony Electronics' Broadcast and 
Professional Company. "The confidence and vision of George Lucas greatly 
motivated our dedicated engineering team. Lucasfilm is breaking new ground 
in proving that digital acquisition empowers the creative process."

Phase two prototype HDW-F900 units have been delivered to Panavision, and 
following the docking to the final lenses and accessories, these will be 
used by David Tattersole, director of photography for Star Wars: Episodes I 
and II, to establish camera set-up parameters for his photography of Star 
Wars: Episode II.

The final product versions of the planned six HDW-F900 camcorders for Star 
Wars: Episode II will be prepared by Panavision in May and will be ready for 
the onset of principal photography in June.

----- Original Message ----- 
From: "John Willkie" <johnwillkie@xxxxxxxxxx>
To: <opendtv@xxxxxxxxxxxxx>
Sent: Monday, September 27, 2004 3:39 PM
Subject: [opendtv] Re: 20040921 Twang's Tuesday Tribune (Mark's Monday Memo)


> Exception or rule?  I wasn't talking about "I don't care how much it 
> costs,
> or even that the technology doesn't exist."  There has been much 
> pioneering
> done by Lucas in this area, but he's still the gross outlier.
>
> John Willkie
>
> -----Original Message-----
> From: opendtv-bounce@xxxxxxxxxxxxx
> [mailto:opendtv-bounce@xxxxxxxxxxxxx]On Behalf Of John Shutt
> Sent: Monday, September 27, 2004 11:00 AM
> To: opendtv@xxxxxxxxxxxxx
> Subject: [opendtv] Re: 20040921 Twang's Tuesday Tribune (Mark's Monday
> Memo)
>
>
> John,
>
> Explain to me again how George Lucas produced the last three Star Wars
> movies?
>
> ----- Original Message -----
> From: "John Willkie" <johnwillkie@xxxxxxxxxx>
> To: <opendtv@xxxxxxxxxxxxx>
> Sent: Monday, September 27, 2004 1:17 PM
> Subject: [opendtv] Re: 20040921 Twang's Tuesday Tribune (Mark's Monday 
> Memo)
>
>
>> That may happen for electronic editing, but when the prints are made, you
>> still HAVE to start with the negative. It's one of the reasons that
>> electronic editing hasn't really lowered total costs, since for most
>> countries, the prints are still film.
>>
>> John Willkie

 
 
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