You wouldn't be a Australian VFX / Director / Producer? Does your crew know that you think they are a bunch of overpaid whiners?
I was in IATSE at one point and of course that came with a lot of benefits.
I've also been in this business since the early days, so I've experienced all of this first hand on an international basis.
But if we are talking about the decline of the VFX business in the US, then the unfortunate truth is that being in a union wouldn't stop the work from being outsourced.
Local unions would make a difference as far as working conditions go. Maybe then fx workers in the UK would be paid overtime, but they would have to first revoke the exemption the industry was granted from labor laws.
But the moment you formed a union and increased wages and benefits or stopped the erosion of them the studios would move on to the next country where they are given a better deal. That is why they are now pushing for India.
A union won't stop the studios from outsourcing to Canada, India, New Zealand or the UK. Just like the other unions in Hollywood etc can't stop productions from shooting in Vancouver or the UK. You would need a global VFX union and that is never going to happen.
VFX in the US has been killed by massive tax breaks and other incentives (including relaxed labor laws with no overtime. I'm looking at you London) that are being offered by foreign countries that the studios were eager to accept. Here in the US we did nothing to counter that. And now that India is in the game there is no way to compete with their low wages. I wouldn't be surprised if a few years from now India does to the UK, Canada etc what they did to the US.
Part of the problem has to do with our political system here in the US. We have become a borderline banana republic, where our representatives only listen to the wealthy and influential. Whom do you think a US politician is going to listen to? A big studio that can make a big campaign contribution or a few VFX artists who are just your average tax payer? The current system works just fine for the studios. They are saving a ton of money, making huge profits and don't care whatsoever about US workers. Until the studios complain nothing will change and VFX in the US will continue it's decline.
Great test. That's an incredible amount of work to put together so kudos to everyone involved.
My personal favorite are the Bausch+Lomb Super Baltar. They look terrible on a projector, but IMO are perhaps the greatest set of spherical primes ever made. Sharp where you need them to be, forgiving to skin, beautiful flares, liquid smooth bokeh and a three dimensional quality that is difficult to quantify.
I would add the Zeiss Super Speed mk III and Cooke S4 to my list of favorites (and the Cooke 18-100).
I am surprised Arri Standard Speed 2.1 didn't make it into the test. Highly underrated primes in my opinion.
The majority of major studio pictures in Hollywood and abroad are shot on the Alexa that ranges from 2.4-3.4k and is blown up to 4k.
TV is almost exclusively shot on the Alexa, except for Netflix which is the only studio I know of that has a native 4k requirement, hence lots of RED and Sony F55. In this past year we have started to see more TV shows being shot on Sony cameras though, but that number still is very small in comparison.
Most VFX are still finished at 2k, but there is a strong move to 4k.
In general the DI is performed at 4k these days.
There are very few people like Fincher who uses a 4/6k extraction process. But he is the exception to the rule.
You really should not spread such misinformation. I highly doubt you even work in the business.
>If you are shooting a MAJOR motion picture specially one that needs heavy VFX the >VV 8K IS the right camera for the job.
As someone who has been in VFX for over 20 years and has pulled countless green screens I can tell you that this is a complete red herring that has been floating around the internet for may years.
Red footage is always compressed which makes it more difficult to pull green / blue screens from and suppress spill. The lowest compression available is 3:1 and often 5:1 and higher for high speed (13:1), so a lot of color information is being thrown away. RED sells this as 'visually lossless' but your keyer only sees numbers and will notice the missing data that will manifest itself as banding and edge artifacts. This makes it difficult to pull fine detail like wispy hair, peach fuzz, smoke etc. The cameras are also noisy and the color science is improved, but still odd. Highlight roll off is not exactly smooth and because of the compression tonality is thin, which again makes it difficult to key, spill suppress and in some cases grade.
And please, before anyone pulls out the Fincher-Jackson-Scott-Santa Clause RED endorsement card I'll let you know that I've worked on VFX for at least two of these people and their mere association didn't make these technical problems magically go away. Instead we put in countless hours of overtime to make shots look right.
If you want to make your VFX people happy shoot uncompressed RAW on an Alexa or Sony.