Wes Anderson's The Grand Budapest Hotel

http://www.aja.com/assets/support/files/1177/en/aja_2k_whitepaper.pdf

Apparently 12MB of data per frame (??!!)

― Emperor Cos Dashit (Adam Bruneau), Tuesday, March 11, 2014 4:20 PM (1 hour ago) Bookmark Flag Post Permalink

wait, that's 2k, not 4k... 4k would be something like 12.2 MB squared--or about 148.84 MB.

so that's...

- 1,786.08 MB (approx 1.786 GB) per second
- 107,164.8 MB (approx--what?--107 GB per minute)
- 9,323,337 MB for an 87-minute film (9.3 TB)

not counting all the frames that don't make it into a finished film. I imagine there are many times as many of those as there are frames that made it to the finished film. let's charitably assume a 5:1 ratio. (might be more like 100:1 for all I know.)

so that would be...
- 55,940,022 MB or nearly 56 TB. that's a lot of storage space in 2007 or whenever that film was made/completed.

maybe my math is completely wrong.

also I'm assuming they are animating on "2"s, meaning 12 frames per second. but actually some of t he film was on the "1s", meaning the full 24 frames per second. you can do the math on that.

also 12 MB seems low even for 2K, I've had 2k-resolution TIFF files that were way more than that.

i think david fincher said that one of the big problems for films now is file management. major motion pictures now have big "file management" teams subdivided into all kinds of categories. i'm sure that's even true of grand budapest hotel, although at least it was _shot_ in 35mm which likely means the ratio of shot to used footage is probably much lower than on fincher's digital films where it's out of control.

this is also a major problem for archivists btw. they have to triage: do you "archive" the finished digital file (which can be numerous TBs) and that's it, or do you also preserve all the ouutakes, un-CGI'd files, etc. etc.? if so, how do you make a rationale for what to preserve and why? since no archive, indeed no institution, can maintain unlimited digital storage for an indefinite time. (since they are likely to want multiple backups, and files would have to be "transitioned" to new storage/new formats every few years.)

sorry if this is boring to people. i find this stuff crazy interesting.

Kind of blows my mind whenever that kind of thing goes on, that a company would just throw out master original files and stuff after funding a movie for hundreds of millions of dollars.

For instance, they could do an HD remaster of Final Fantasy VII, which was the most expensive game ever developed at the time, if they had simply kept the original models and stuff. For some reason all the background art was saved in native NTSC resolution and nothing else. So you have years and years of work put into this thing that can only display at 320 x 240 until the end of time.

your math is wrong! i shoot RAW images on my DSLR. the image is much bigger than 4K. they are 20mb.

(4k is approx 8 megapixels, my camera shoots 18)

Yeah, but does your camera shoot sound?

how do I shot sound

your math is wrong! i shoot RAW images on my DSLR. the image is much bigger than 4K. they are 20mb.

― socki (s1ocki), Tuesday, March 11, 2014 6:30 PM (21 minutes ago) Bookmark Flag Post Permalink

(4k is approx 8 megapixels, my camera shoots 18)

― socki (s1ocki), Tuesday, March 11, 2014 6:31 PM (19 minutes ago) Bookmark Flag Post Permalink

it's not my math, it's the link so-and-so posted.

but yeah someone should look into this. one way to ask this would be: how big is a 2k DCP?

or I could just look again at my "making of fantastic mr fox" book when I get home. there might be something on the studio daily website too.

Well, that link was kinda pulled at random. Seems like there may be different industry standards (and this was 2006) and that was for 10-bit and it doesn't sound like there is an alpha channel, so yeah it probably be closer to 20MB and that's just counting the initial shots. A final render (with effects, color timing, and compositing) would easily double that. At any rate yeah it's probably super expensive to store all of that, and digital storage isn't exactly long-lasting at this point. You are much better off making a film print imo.

This thread really became a big sister to the Pono one, eh? On that tip...

http://www.indiewire.com/article/movie-theaters-receive-special-instructions-on-how-to-project-the-grand-budapest-hotel

Heard an interview with him on NPR, and man, what a weird accent he has, especially for a Texas guy. It's as if he was raised in Texas but modeled his speech after Woody Allen, then spent several years overseas unlearning English. Just impossible to place.

He's worked very hard to erase his Texas signifiers.

Kind of wonder if that's part of why he only did the one film w/Bob Musgrave (Bob with the car from Bottle Rocket). Now that's an accent!

Just impossible to place.

when it comes to "placelessness," motherfucker's all about it as far as his films are concerned. assiduously avoids local signifiers to the point where he shot one scene of tennenbaums with kumar pallana standing strategically to block the statue of liberty.

He's worked very hard to erase his Texas signifiers.

― Interior. Ibiza Bar (C. Grisso/McCain), Thursday, March 13, 2014 10:51 PM (Yesterday) Bookmark Flag Post Permalink

I don't think his parents are native to Texas, and he grew up in a kind of upper-crusty bubble. he just has a generic american UMC suburban accent to me.

i always liked the texas stuff in his early movies. i know this makes me sound like a broken record, but it was different, and it balanced the dollhouse aspects in an interesting way. i guess it also added to a "me and my buddies" aspect, him casting friends and stuff, that i thought was really cool.

he just has a generic american UMC suburban accent to me.

Man, no way. There is nothing generic about the way he speaks these days.

http://www.npr.org/2014/03/12/289423863/wes-anderson-we-made-a-pastiche-of-eastern-europes-greatest-hits

he just has a generic american UMC UHB suburban accent to me.

Fixed

i always liked the texas stuff in his early movies

yeah said this several times before but one of the best things about Rushmore is that it just nails central Houston in the fall/winter.

that is, nails it around the edges of max's fantasy life.

I'm already kind of sick of this movie, and I it doesn't even open here for a few weeks. i hope it brings the funny.

Man, no way. There is nothing generic about the way he speaks these days.

http://www.npr.org/2014/03/12/289423863/wes-anderson-we-made-a-pastiche-of-eastern-europes-greatest-hits

― Josh in Chicago, Friday, March 14, 2014 8:29 AM (8 hours ago) Bookmark Flag Post Permalink

i dunno, he's always sounded like that to me.

Didn't say he's changed, just never noticed how not Texas, and actually sort of neurotic NYC, his accent was.

yeah, he hangs out with Noah Baumbach a lot

i'm listening to the interview and, wow, you all are really projecting a lot of stuff onto this dude's voice. especially compared to terry gross, who pretty much has the weirdest, most mannered way of speaking of anyone.

he sounds like a fruit but otherwise theres nothing weird about him

i thought this was good btw

a ~star~ fruit

I loved this -- impressive to look at, fun to watch, full of almost Zucker-Bros-worthy gags, everyone in the film looks like they had a good time making it. Maybe my favorite Wes Anderson since Rushmore. Not destined to be remembered as a "great" film, but very clever and totally enjoyable.

I thought the comedy was very hit and miss, and the only character with any substance at all was Ralph Fiennes'. But yeah, it was good fun and it looked fabulous.

i fell asleep twenty minutes in.

i thought this was wes anderson's worst movie by far. both visually and in terms of the characters, there were no glimpses of realism to temper the cloying whimsicality. the wes anderson-izing the SS as the "ZZ" was in bad taste, although i did lol at the fact that they called their cigarettes "zigarettes". in general i feel something like betrayal wrt movie.

he sounds like a fruit but otherwise theres nothing weird about him

h4a, clean it up

I thought the comedy was very hit and miss

yes. saw this in a large, full, Glasgow cinema where the audience were almost WILLING the film to be funnier than it actually is - huge stretches of it, particularly the prison and 'chase' material, fell dismally flat. i don't know if owen wilson is the answer, but anderson def needs a co-screenwriter can punch up/polish his gags.

i agree that the ZZ stuff is p lame, and seems to be part of a final third 'grab for seriousness' that the film really can't support - tarantino handles this kind of stylistic clash between cineaste fantasy, farcical comedy and genuine terror so much more deftly/inventively in Inglorious Bastards, imho

it also took the film a LONG while to recover from the horrible framing story at the start.

i agree w/all of that ward, though it was still funnier than his previous 4 movies & it went down smooth enough for me compared to those. ralph fiennes death is weird because i mean, it would evoke zero sadness if we saw him being dragged off the train and shot in the head yet the movie cuts around it like it'd be unbearable for us to watch. when really its more like if Dos Equis killed off the most interesting man in the world. guess its a semi-funny metagag that in the train scenes fiennes is playing schindler now instead of goth

wanderson's limits as a writer of dialogue showed really strong in this, especially when f murray abraham & fiennes are saying things. i wonder if the glibness of anderson's voice is an acknowledgement of those limits, like he knows he has to work around the crudeness. he gets some good effects out of it, i laffed solidly at a lot of adrien brody's lines. owen wilson showing up was great and reminded me that for all the good actors that are in these things hes one of the few who can be naturally funny performing in the Wes Anderson Style

"where the audience were almost WILLING the film to be funnier than it actually is"

This exactly, every hipster doofus in the theatre laughed at the most mundane things throughout. Oh my god look a cut scene to bob balaban...this is the funniest thing ive ever seen..

Give me a break. dull, boring and his schtick is getting old.

Why wld you go to a movie just to boo it

same reason they read Armond White

i went hoping to like it as i did most of his other movies.

i did laugh when ed norton first appeared. bob balaban can suck dicks in hell though

Why wld you go to a movie just to boo it

― sonic thedgehod (albvivertine), Tuesday, March 18, 2014 9:48 AM (41 minutes ago) Bookmark Flag Post Permalink

same reason they read Armond White

― images of war violence and historical smoking (Dr Morbius), Tuesday, March 18, 2014 10:20 AM (9 minutes ago) Bookmark Flag Post Permalink

...

every hipster doofus in the theatre laughed at the most mundane things throughout.

this has happened every time I've seen a movie of his in the theater since Rushmore. it's quite bizarre, like a pavlovian thing.

Maybe his movies give people delight on a level unavailable to you?

say that in deadpan and I guarantee it would bring the house down.

bob balaban can suck dicks in hell though

http://ecx.images-amazon.com/images/I/51a%2BxVJdaZL._SX342_.jpg

no maybe they are just such Wes Anderson fanboys that they would laugh at anything he does.

Why would you go to a movie just to get blown?