Precede Minister rain pool off broadcasting talk corporation with the tail OF Lucas

Here's a rumor I always half believed at NYU: That every few years, George Lucas comes knocking at the door of the Dean of Tisch and asks him/her to switch the film program further into digital. Why was this filed under "rumor?" Conventional wisdom in the film program was that NY Old-School filmmakers like Scorsese also had the ear of the Dean and maintained more traditional analog methods should be taught.This rumor was less entertaning as something that connected to my education and more entertaining because it meant the possibility that on some given day in New York, Martin Scorsese is probably shit talking the second Star Wars Trilogy in an NYU building.George Lucas continues to champion digital filmmaking as he gets drowned out by James Cameron and his 3D talk. It's no surprise we all pay more attention to Cameron: his movies are consistent.That said, Devin from CHUD stumbled across a! post on a German-based film equipment company that talked about Geroge Lucas' setup on "Red Tails," the pic he's co-producing with Rick McCallum, the same "Red Tails" that had re-shoots in February with Lucas at the helm:“Lucasfilm’s ambitious project not only verifies our decision for this system, but also offers the very welcome a unique chance to gain valuable experiences on the highest level that is possible,” explains Ralph Herzog, head of the Digital Cinematography department at FGV Schmidle. Rick McCallum, who already acted as producer for George Lucas on the Star Wars sequels and the Young Indiana Jones films, decided on the F35 for the new project of Red Tails. After the first discussions in January everything had to be set up very quickly: another three F35 cameras were bought from Band Pro Munich to supply the new project.Blah, blah, blah, right?Well, the next paragraph is interesting, especially to someone that works with the digital filmmaking process. F! or those that haven't, here's your translation assistance:The ! Sony F-2 3 is a new super camera that is made to digitally replicate the feel of a 35mm camera and is capable of working with 35mm lenses and adaptors. Even when something is shot "digitally," that makes it much different from the look and feel of film. A good example that continues to blow the mind of film students is that Flip Cameras - those nifty little things that shoot in HD - don't ACTUALLY have a shutter, instead it switches it's CCD chip on and off, so motion will never look as fluid as it can. Each camera has it's own quirks, especially digital cameras that are inconsistent with their handling of movement and lighting. Ok, now the camera tech porn:Fred Meyers, technical supervisor and responsible for the digital recording flew in, and installed the very elaborate workflow of Lucasfilm and ILM. Three weeks of intense work were necessary to set up, update and refine the workflow at the FGV premises.The signal is recorded with dual link 4:4:4 on SRW-1/SRPC-1 machines that are ! connected via fiber optic cable, and parallel to this uncompressed on a Codex disc recorder, which is capable to handle two 4:4:4 streams at the same time. For the first time a Codex portable working with JPEG 2000 compression with dual link 4:4:4 is also utilized. Two additional SRW-5800 HDCAM SR recorders are used for back-up and additional play-outs."Red Tails" will never be a physical print, which gives a scary level of control to Geroge Lucas, one of a handful of directors whom I think would actually be better storytellers if their production technology is limited.Anyway, this site with all this techno babble I'm creaming my techno pants over (TECHNO PANTS SOUND AWESOME!), there are also the first "set" pics from "Red Tails"Click the pic to peep the page:

In WW2 the squadron of the Tuskegee Airmen not only had to fight in their planes, but also against racism in the strictly segregated troops at that time. The African-American pilots had to fly extremely risky missions and escorted thousands of bombers.Source: FGV Rentals

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