November 13th... prep.

[Gian Joon]

I will be very surprised if this is not the single most defining day of RED. The one day in our history that will mark the changing point. Days like this will never be duplicated.
Jim

Jim, it looks like 13th will be most defining day of cinema, not RED alone.
Looking forward to it.

[Casey Green]

...That spinning dragster tire was painful to watch...

Jim

Hahahaha! Wasn't it though?!?? :-)

Anyway, back to Nov. 13 talk.

Any significance to the chosen date?

[Jannard]

Hahahaha! Wasn't it though?!?? :-)

Anyway, back to Nov. 13 talk.

Any significance to the chosen date?

Darts...

Jim

[Martin Weiss]

For those of us not living in the US time zone - could you give us a hint as to when would be a good time to be awake during the day?

[Jarred Land]

I did some work for Phantom back in the day to help them repackage their phantom cameras for the cinema world (and ironically my avatar here was shot with the PH9) so I had few Phantoms for a couple months to play with.. great cameras, but after shooting eggs blowing up and balloons bursting, it got a bit old. Anything over 120fps didnt seem to really fit in a scripted environment, and the novelty wore off pretty quickly. For special applications and creative commercials it is no question a pretty cool tool .. and well worth the day rental when those projects do pop up.

[Casey Green]

Darts...

Jim

...fair enough. :-)

[Warren Kommers]

I think I have seen everything shot at 1000fps and I'm bored stiff. Nice effect the 1st time... If you still find it interesting, Photosonics or Phantom. Have fun.
Jim

I understand your view here Jim but.....

First, the appropriate fps (150 or 1000) totally depends on your event obviously.

Second, I feel like your point of view is from viewing single shots or clips. The reel impact of high speed photography is reaped from the shots that surround it in an edit. Anything at 1000fps going forever will get boring but 1000fps for even 3 seconds can have a massive emotional and aesthetic impact when surrounded by 24fps material. As a director I dream of the day that my RED and rented Phantom are the same camera and 1000 fps is at my disposal without a huge rental and required tech. Plain and simple it expands the cinematic language. Regarding light levels to shoot high fps. How often do we shoot day exteriors? There is plenty of light to shoot 1000fps.

Thirdly,

http://www.youtube.com/watch?v=5rNws2Gb7u8

and

http://www.youtube.com/watch?v=0OsaP...eature=related

[Jarred Land]

understand your viewpoint Warren.. but again, showing cars blowing up in super-slow motion is not something "normal" filmmakers would necessarily want to use for story telling.. even for 3 seconds it is awkward when mixed with 24fps ( yes there are some exceptions, as mentioned commercials being one of them )

[Warren Kommers]

1000 is crazy slow but I can think of many times I've wanted to have 300 or 400.

PS - not to be the more fps, never satisfied guy tonight. Obviously fps is one of my favorite tools. I'm super pumped about the 13th!

[Warren Kommers]

understand your viewpoint Warren.. but again, showing cars blowing up in super-slow motion is not something "normal" filmmakers would necessarily want to use for story telling.. even for 3 seconds it is awkward when mixed with 24fps ( yes there are some exceptions, as mentioned commercials being one of them )

I'm fully aware of this....but....you still liked it! Don't lie. I know you did. Part three was just a joke of sorts.

Definitely disagree that it is most often awkward. It could be if not used right but that's like saying timelapes don't fit in. They are used all the time. They are just technically easier to achieve.

Don't get me wrong. the 24fps to 500fps shooting ratio is 1:5,000 but when you have it when it counts. It can be worth a million!