RED EPIC Cameras Reportedly Make THE AMAZING SPIDER-MAN Look, Well, Amazing

     June 7, 2011


Last December, we reported that The Amazing Spider-Man would be shooting with the top-of-the-line RED EPIC cameras.  I won’t bore you with all of the technical jargon (mostly because I barely understand it myself), but what you need to know is that only IMAX cameras provide better resolution and that it’s a light-weight 3D camera.  Amazing Spider-Man director of photography John Schwartzman told the moderator of  Reduser prior to screening the footage, “This is the best looking footage I have ever shot.”

But he’s the cinematographer.  Do you honestly expect him to say “I would rather stare into the dark abyss of blackest hell than see this footage,”?  However, a Reduser poster was equally effusive.  Hit the jump for what he had to say on the impressive footage (all of it is spoiler-free; he’s only talking about image quality).  The Amazing Spider-Man opens in 3D on July 3, 2012.

Here’s what “Jim” posted on [via CinemaBlend]:

“I have to say that we were all stunned. Shocked. So incredible. Not like RED ONE MX. Not like anything we had seen from another camera. Same resolution and feel of our new EPIC reel, but with actors and a story and Schwartzman’s ability to light.  The consensus in the room (to a person) was that this looked like film. Like 65mm film. Better. Without any trace of film’s blocky detail in shadows or grain. Jaw dropping.”

And that’s wonderful to hear.  Unfortunately, I doubt most audiences will see it that way.  Audiences are writing off 3D because they’re no longer seeing the purported benefits, but they are paying more for a dimmer image because theaters cheap out on the bulbs and projectionists aren’t trained to properly do their job.  I expect audiences will be able to see a difference between The Amazing Spider-Man and films not shot with the RED EPIC, but I doubt we’ll see the film as it was meant to be seen.

Around The Web
  • Nads

    Seen this pics a million times. We want more god damn it!

  • Gonse

    I expect audiences will be able to see a difference between The Amazing Spider-Man and films not shot with the RED EPIC, but I doubt we’ll see the film as it was meant to be seen.


    • JR209

      No one seemed to notice that Pirates was shot on RED-EPIC so I’m not sure why spiderman will be any different. However I can always tell when something is NOT shot on film and shot digitally. digital films look flat, grainy, and bad motion blurs when people are walking or moving around quickly. Fincher is the only director who’s convinced me that Digital might work

      • Mark Tornits

        I noticed immediately-

        pirates looked awful-

      • harold

        Pirates 4 was not shot on RED Epic.

        “Pirates of the Caribbean 4, “On Stranger Tides”, is being shot in 3D on RED Mysterium-X cameras….

        Dariusz Wolski had this to say about using the RED MX cameras:

        “We tested ALL the digital camera’s available and against film and we chose the RED MX for Pirates of the Caribbean 4….”"


    3-D is still a stupid gimmick that deserves to wither and die away. But, higher resolution I’m all for. I look forward to seeing many future films shot on the Red Epic; in 2-D of course.

    • JR209

      There are cameras already that have a higher resolution then the red-epic, their made by Panavision, Arriflex, and IMAX. And they use film.

      Red is the highest DIGITAL format but not the highest resolution format. As editing workflows are now all digital and files need to be shared across many departments through Avid. With film you had to make proxy files then go back to the print and make finals.

      All Studios are doing is that they decided to go digital from start to finish to keep the cost down. Don’t get me wrong I love RED their a fantastic company but movies have actually gone backwards in quality, the only reason this story is exciting is because in the digital format RED is king.

      So its like saying we now have a prius with the equivalent power of a v10 engine. Its impressive but nothing really new

      • David

        Actually, it’s not exactly like a Prius with a v10. Digital has a the ability to capture more information than a film camera. Maybe not in pixels yet, but in stops. As far as pixels are concerned, the Red Epic can already capture as many pixels as a 35 mm frame. But the sensitivity to light surpasses film. In the near future, filmmakers won’t have to worry about the small range of light their light meters currently allow. The Epic boasts 17.5 stops – that’s crazy! In other words, they can film a dark room with someone holding a torch, and get the detail from the the dark corners and the bright flame. Add to that the ease of working with a full digital work flow, and you have a killer combination. Many people enjoy the style of film, but other styles may gain momentum.

  • Brandan

    there will soon come a day when trailers will say “From the cameras that brought you AVATAR”…just so audiences will know what kind of 3D they’re getting into.

  • tarek

    Worst suit ever made. And worst Peter Parker ever seen.

  • K

    @brandon: i think they did that with the latest resident evil trailer

  • Hannah Torres

    Director Ewing Miles Brown says Sam Botta has lost 74 lbs (now 150 lbs.) for Movie Tech Studios pre-production of “Live Fearless” Sam Botta Hosts the upcoming reality TV show. :) in Pre-Production now with guests like Betty White, who says “Appreciate life while it’s happening!” Also “get over it” (referring to aging) and “I’m swimming as fast as I can” in reference to her work.

  • gimpsuit

    The Red epics are amazing camera’s.
    At least they are going about doing 3D the right way. Weather the theaters project 3D correctly is another thing entirely. But it seems odd that they would invest $$$ in projector upgrades to show 3D films, then skimp of the costs of replacement bulbs, thereby creating brightness issues and pissing people off.
    Conema’s, If you’re gonna charge us a 3D premium, then FFS project it correctly.

  • RomanM

    “but what you need to know is that only IMAX cameras provide better resolution ”

    Simply not true, just a blatant lie.

    • Pietro Impagliazzo

      35mm film tops at 6K resolution but with a lot of grain, because that’s its inherent imaging structure.

      Films we see usually at cinema, DI’d to hell with lots of grain reduction, should sport less resolution.

      So, how is it a lie?

      • RomanM

        Anamorphic 35mm gets scanned at up to 8K. Pfister and Nolan do it all the time. Wally knows that if you’re going to attempt to preserve any of that detail you have to scan high because it’s going to lose something from system to system all the way to the theater. This idea that film tops at 6K as if it has a set resolution, it doesn’t. The EPIC is also a 4K mastering camera, unlike it’s predecessor which claimed to be.

        I haven’t even touched on 65mm or IMAX, which far and away outclass digital in sheer scanning resolution, dynamic range, apparent bit depth, and color rendition.

    • JR209

      IMAX is the greatest and highest quality you can capture an image on to date. NOTHING surpasses IMAX film. So not sure where your getting your information.

  • jackyboy

    i think The Social Network used RED EPIC cameras, and the footage looked AAAAAMAZZZINNGGG. they’re still a distinct look between a digital and film, but The Social Network showed how it can be different but better(no more distracting background movements we’ve seen alot from Public Enemies). imagine if they used it on an action picture.. MAN OH MAN!

    still, this relies on the DP… Digital looks bad if the DP does not know how to light it. Dante Spinotti is an excellent cinematographer(LA Confidential anyone), but he just didn’t have the knack for digital, and Public Enemies looked really bad.

    Fincher on the other hand, has used digital in the last 3 films(all with different DPs), and yet the look is incredibly not distracting. plus two of them are period piece, but never looking awkward or weird.. Mann should know that creating raw footage isn’t the only used for digital.

    nweiz, can’t wait for Spidey of the new age!

  • Jake

    IMAX cameras are merely used for much wider shots, and have more coverage, but the RED’s are amazing, because of the resolution, and these new ones will be pretty good by the sounds of it.

    • JR209

      IMAX cameras on documentaries and nature films are primarily used for wide shots, IMAX on the dark knight and transformers 2 were used for closeups and wide.

      As far as I’m concerned FILM WILL ALWAYS BE BETTER THEN DIGITAL. You are capturing an image on canvas that really absorbs all the brightness and contrasts and rich deep colors on set. No matter how many pixels and how “clear” the image is you are still recording pixels and not full completed image like film.

      the RED epic looks amazing,( same camera used on PIRATES) but i miss the days of great rich colors. Thats why I dont care to go to the theatre because why spend 20bucks on a digital copy thats only a fraction clearer then what I could get at home

      • harold

        Ive never really got onboard with the analog > digital argument. Our brains process information in a more or less digital fashion and our eyes and visual system have an upper limit on how much resolution, colour difference etc they can distinguish. Very soon digital will catch up with that limit and then film will be abandoned because it offers no more advantages but carries a bunch of disadvantages when compared to digital. The same thing has happened in other fields of course. And of course even today film is not technically superior in every area either.

  • Tarek

    IMAX + BATMAN 3 = I buy my ticket!

  • Mark Tornits

    the Red didn’t help make Pirates 4 look anything other than crappy.

    the fourth pirates film looks terrible- especially when compared to how great the 2nd and 3rd film look-

  • Pingback: Red Epic images and hands-on | Today's Top News()