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GH2 at Sundance!
  • The film is called Upstream Color by Writer/Director Shane Carruth (Primer). It will be premiering at next year's Sundance and was shot on the GH2 (using mostly Voigtlander glass I believe). Check it out!

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  • WOW. Thanks for sharing. looks fantastic!

  • @elementalracer where does it say that this is shot on a GH2?

  • Wasn't there a bunch of other comments here? :)

  • @ipcmlr I doubt any production specs are published anywhere, but I can tell you that it was. A few friends/colleagues of mine worked on the film.

  • Looks really good. Two questions: 1) I wonder if they used a hack? 2) Why can't I figure out what the movie's about from the trailers?? LOL

  • if you ever saw the "Primer" trailer, it seems to be Shane's MO. But "Primer" is one of the best sci-fi films I've ever seen.

  • @shian, worth the 15$? I couldn't even find a trailer

  • @christianhubbard Here is the trailer for Primer.

  • Yep... His MO is definitely more "teaser" than "trailer" in style.

  • As far as mind fucks go... it's 10 times the movie of "Memento" or "Inception" - For the budget; it's the greatest sci-fi movie ever made. Regardless of budget; it's in my top 5.

  • @shian

    La Jette, from which virtually every other time-travel film since has been derived (12 Monkeys, Looper, etc.), would be a close contender for greatest low-budget sci-fi movie ever made, though it's not feature length. And except for one shot, it's composed of nothing but still photos.

    But, in the end, I think it wins out.

  • It would be great if we could get the makers to come on to personal-view for some Q&A or something... :-)

  • The trailer is somewhat disturbing. Unaware that Shane had worked in Looper.

    I'm curious to know more about this project GH2. In IMDB does not have any data about it.

    Rian Johnson posted in 2010: 'Shane... has a mind-blowing sci-fi script. Let's all pray to the movie-gods that he gets it made soon'

    I found this picture of Shane in January from this year, with this information from

    '...the elusive Shane Carruth (director of Primer) was at a Colony, Texas indoor swimming pool last week shooting a brief underwater scene for his film Upstream Color. Carruth’s follow-up to Primer was initially to be the ambitious A Topiary, then later it was reported this low-budget, peculiar-sounding drama would precede that. The film is currently in pre-production in the Dallas area, reportedly using'

    572 x 446 - 191K
  • Please provide details of hack/shutter speed/filters/picture settings!!


  • Looks good. I really liked primer so I have high hopes for this one.

  • Just spotted the GH2 is mentioned on the resumé page of the film's assistant editor:

    Funny how if this was shot on one of the Canon DSLRs, the news of the director of Primer using said camera would be plastered across camera blogs and forums far and wide by now. Maybe something like that will still happen when it gets closer to Sundance; I don't really care either way (I'm not advocating for camera worship), but it does strike me as funny how different the marketing is between Canon and Panasonic for this kind of stuff.

  • Agreed with @shian Primer is one of the best, if not THE best low-budget sci-fi films ever made. My head still hurts.

  • Great stuff!

  • Wow. looks very High quality. I think the Voigtlanders DOF is overdoing it in some of the wide shots. But looks great in terms of acting, decoration and CC :)

  • This is freakin awesome. First real project of some notoriety to use the GH2, definitely gonna check this out at Sundance.

    Obviously other films have been shot on the GH2, but this is definitely the first in terms of a production that will likely get a respectable release in theaters.

  • "There are a few things I'm trying my best not to talk about," said Carruth, "and that's the tech specs on the camera and the workflow and the budget. Last time around, I was grateful to have some praise for 'Primer' but they would say, 'it's a great movie for the budget.' And I don't ever want to hear that phrase again. It would be shocking I think, if people knew, but I'm not going to tout it and I hope it doesn't ever get out.",0,6953593.story

  • if it really was shot on the GH2(, then what the hell are we doing comparing dynamic range, 4k, banding or other "shit"

    Stop hiding behind your damn camera!

    When we get 4k in sub $1000 dslrs, REDS will be shooting 12K and people will be whining about needing 12k in their dslrs.

    Just get out there and make your movie already! We have all we need in the GH2!

  • Although even with few users, at IMDB has 9/10 and the specialized critics speak well of the movie.

    'As far as audiences are concerned, Upstream Colors certainly is something to see if you’re into brilliant technique, expressive editing, oblique storytelling, obscuritanist speculative fiction or discovering a significant new actress. Tastes running to anything even slightly more conventional should stick with what they know.' Todd McCarthy: The Hollywood Reporter

    'Quite possibly the most anticipated film at the festival, Upstream Color is just as bold as Primer, though far less accessible. Like Primer, this is the kind of film that is better to go into without knowing much. Unlike Primer, it might not be possible to give away much at all. This is an experience movie with many big confusing ideas. Some will likely find brilliance in these ideas. Others will be frustrated.' Ryland Aldrich:

    'Dense, beautiful, hypnotic, and almost willfully opaque, “Upstream Color” is a great movie, but it is not an inviting one. Carruth expects you to do a certain amount of the work for yourself, and for some viewers, there is no more frustrating kind of film than that.' Drew McWeeny:

    'Shane Carruth’s 2004 time travel drama “Primer” provoked endless scrutiny for its heavy reliance on tech speak that the director refused to dumb down. His long-awaited followup, “Upstream Color,” also maintains a seriously cryptic progression that’s nearly impossible to comprehend in precise terms, but its confounding ingredients take on more abstract dimensions. An advanced cinematic collage of ideas involving the slipperiness of human experience, Carruth’s polished, highly expressionistic work bears little comparison to his previous feature aside from the constant mental stimulation it provides for its audience. This stunningly labyrinthine assortment of murky events amount to a riddle with no firm solution.' Eric Kohn: