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RED 8k camera, a sign of things to come from apple?
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[Bill Davis] “Wouldn’t you just LOVE to see the stats on what WB makes on the most successful of their movies, verses what they rake in over the same period on something like this?
It’s definitely a very different global media landscape out there today.”
I don’t know how it easy it would be to find breakdowns like that, but with franchises like Harry Potter and The Dark Knight the TV side of the WB certainly has stiff competition. Speaking of the global media landscape, most Hollywood films seem to earn 1/2-2/3 of their total revenue overseas. Even a crap-fest like Suicide Squad brought in nearly $750 mil worldwide (43% of that from the US).
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[Andrew Kimery] “Speaking of the global media landscape, most Hollywood films seem to earn 1/2-2/3 of their total revenue overseas. Even a crap-fest like Suicide Squad brought in nearly $750 mil worldwide (43% of that from the US).
“Was going to make a point about FCP X adoption and the globalization of the market… but won’t.
????
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Bill Davis] “Was going to make a point about FCP X adoption and the globalization of the market… but won’t.
????
“When you have time to create that point I’d love to hear it.
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Speaking of VR:
– Oliver
Oliver Peters – oliverpeters.com
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Yeah I thought that might happen. The OZO gives fantastically average image quality and needs the use of the proprietary software to deliver actual VR rather than 360. My money is on blackmagic to deliver a rig with some cameras and a sync box that does it all in the next year.
Great work on the Epcot project Oliver. I can remember watching it for the first time in 1999 and being captivated.
Co-owner at Pollen Studio
http://www.pollenstudio.co.uk -
[Tom Sefton] “Great work on the Epcot project Oliver. I can remember watching it for the first time in 1999 and being captivated.”
Thanks. A year of my life right there! At the time, we had asked to at least double the horizontal and vertical pixel resolution. The engineers told us don’t go there. It’s a square factor for everything – weight on the barge, time to fabricate the displays, labor to hand-wire the LED blocks, cost, etc. We were told the closest anyone would see it would be 500 feet away – therefore “good enough”. So our test “platform” was the Australia continent panel, which is more or less 40×40 pixels. That’s effectively a desktop icon. We figured that if you could make out an image on that from 500 feet, then the image was useable. The other continental masses were bigger palettes. So, a lot of late-night testing with stock footage in the backlot at the Magic Kingdom.
– Oliver
Oliver Peters – oliverpeters.com
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[Oliver Peters] “Thanks. A year of my life right there! At the time, we had asked to at least double the horizontal and vertical pixel resolution. The engineers told us don’t go there. It’s a square factor for everything – weight on the barge, time to fabricate the displays, labor to hand-wire the LED blocks, cost, etc. We were told the closest anyone would see it would be 500 feet away – therefore “good enough”. So our test “platform” was the Australia continent panel, which is more or less 40×40 pixels. That’s effectively a desktop icon. We figured that if you could make out an image on that from 500 feet, then the image was useable. The other continental masses were bigger palettes. So, a lot of late-night testing with stock footage in the backlot at the Magic Kingdom.”
Yes, great job, seen the show a few times and I’ve always been impressed!
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[Steve Connor] “Yes, great job, seen the show a few times and I’ve always been impressed!”
Thanks. We worked with a great creative team. Don Dorsey was the show director. Don created the Main Street Electrical Parade, too. Gavin Greenaway did the musical score. He’s a colleague of Hans Zimmer’s and conducts his film scores for features. The recording was done at Abbey Road Studios. I did all the final compositing on Media Composer ☺
– Oliver
Oliver Peters – oliverpeters.com
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[Oliver Peters] “I did all the final compositing on Media Composer ☺”
Wow.
Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive | RenderBreak [blog] | Profile [LinkedIn] -
[Walter Soyka] “Wow.”
Thanks. In fairness, there were a few shots done in 3DS Max, Avid Illusion (remember that?), and a linear bay by other team members. But I also had a few areas that were over 50 deep layers in MC. Of course, each continental mass was a nest (total of 5) on its own track and final compositing of all elements was done in MC. Glorious AVR-77!
The actual show files are (not sure if this is still the case) 7 uncompressed AVI files that run back-to-back. This was launched in 1999 and there was custom player software that ran the video from the barge. The show control room fired off everything at the beginning – fireworks, flames, fountains, lasers, sound, and video – and it runs from there. The video essentially free-runs after it’s triggered. We were always worried about maintaining sync, but somehow that’s worked for nearly 2 decades. The PC running the video was an early Pentium III (IIRC) so the files had to be uncompressed. Any compression was enough to tax the processors enough to affect sync.
The video display card in the barge PC is the basis for what is seen on the LED screens. The image (modified map of the earth) is locked into a certain position on the computer screen and then there’s mapping software to route the screen’s pixels to specific LED blocks.
The coolest part of the show, though, will never be seen by the public. Before the barges can be sent back to the dock, all remaining propane must be vented out of the flame barge. This is done in one huge fireball after park closing, as they fire off all 34 (?) flumes at the same time!
– Oliver
Oliver Peters – oliverpeters.com
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