RED MX and Anamorphic film

[John Schwartzman ASC]

I recently concluded my first shoot using the RED ONE MX camera, or rather a pair of them because I was doing reshoots for a film in 3D that I originally shot on film in 2D using anamorphic lenses. I consider anamorphic film the "gold standard" for cinema. The film was "The Green Hornet" which is currently in the process of being converted to 3D, at the time of the reshoots the option for shooting film and converting the new scenes was not an option due to the time constraints of conversion, the vendors are working 24 hours a day just to do the work they were contracted for and adding to their plate was not an option. The dilemma for me was how was a going to find a digital camera that had enough resolution to intercut with anamorphic film, I tested every system, The Arri Alexa, 12 bit F35, RED ONE MX and anamorphic film at the same time, based on this test I chose the RED ONE MX because it had incredible resolution, both the Alexa and the F35 didn't hold up well in 2:40. 2 weeks ago I finished timing the DI with Stefan Sonnenfeld at Co3, in addition to 2 new scenes, there were 4 scenes in which the RED ONE data was intercut with existing Anamorphic film, I was amazed at how transparent the match was, Stefan did a great job and actually we added grain to the MX data to match the film. I would venture to guess that the only way anyone will be able to tell the difference between the film and the MX data is not in the image quality but in field of view differences between shooting flat vs scope. As a die hard film user I must say I have been blown away by the image quality of the MX, it doesn't have the same dynamic range in the highlights as film but I believe with EPIC and HDRX it will.

 

[Clint Lealos]

Thanks for your post John and welcome to RedUser.

 

[Peter Lyons Collister ASC]

Bienvenue mon ami

 

[Roberto Lequeux]

Thank you for sharing this and welcome.

Would it be correct to assume you see yourself testing Epic and HDRx for use as a main camera?

Please share more as you find the time, your contributions will be most appreciated.

 

[Cüneyt Kaya]

great news.
one question though.
why didnt you shoot with ana lenses on the red too?
thanks

 

[Phil Bates]

Thanks for sharing, John.

P

 

[Harry Clark]

Thank you for sharing, John. Don't be a stranger; this forum really benefits from working professionals like yourself contributing to the discussion.
Cheers,
Harry

 

[Bryce O]

The film was "The Green Hornet" which is currently in the process of being converted to 3D,

BTW, I just watched this trailer and it looks amazing! Can't wait for the movie. Loved the feel of the images...

3D conversions look like ass though... Maybe if we get a petition going we can stop it. :smash:

 

[Tom Lowe]

Welcome, John! Epic first post.

 

[Jannard]

We got in this business to create a worthy film alternative/replacement camera. The fact that John has cut seamlessly between the two is pretty good evidence that we are on the right track.

Jim

 

[Ruairi Robinson]

I recently concluded my first shoot using the RED ONE MX camera, or rather a pair of them because I was doing reshoots for a film in 3D that I originally shot on film in 2D using anamorphic lenses. I consider anamorphic film the "gold standard" for cinema. The film was "The Green Hornet" which is currently in the process of being converted to 3D, at the time of the reshoots the option for shooting film and converting the new scenes was not an option due to the time constraints of conversion, the vendors are working 24 hours a day just to do the work they were contracted for and adding to their plate was not an option. The dilemma for me was how was a going to find a digital camera that had enough resolution to intercut with anamorphic film, I tested every system, The Arri Alexa, 12 bit F35, RED ONE MX and anamorphic film at the same time, based on this test I chose the RED ONE MX because it had incredible resolution, both the Alexa and the F35 didn't hold up well in 2:40. 2 weeks ago I finished timing the DI with Stefan Sonnenfeld at Co3, in addition to 2 new scenes, there were 4 scenes in which the RED ONE data was intercut with existing Anamorphic film, I was amazed at how transparent the match was, Stefan did a great job and actually we added grain to the MX data to match the film. I would venture to guess that the only way anyone will be able to tell the difference between the film and the MX data is not in the image quality but in field of view differences between shooting flat vs scope. As a die hard film user I must say I have been blown away by the image quality of the MX, it doesn't have the same dynamic range in the highlights as film but I believe with EPIC and HDRx™ it will.

was it a 2k DI?

 

[Martin Stevens]

Staggering post by John Schwartzman ASC.

Great post.....THANK YOU!

It looks like Epic will be Epic and HDRx will be pure heaven.

 

[C.H.Haskell]

Thanks for sharing John, and welcome. HDRx and EPIC + anamorphic could very well become a gold standard for digital cinema...time will tell. Don't hesitate to share more of your findings...fantastic stuff. By the way that sounds like one hell of 3D rig, were you using the smaller Hawks?

 

[NormLi]

Welcome aboard! That's a fantastic comment and I respect even more that it is coming from you

 

[Sanjin Jukic]

Welcome John!!!

Thanks for a great report.

Here we like to hear form ASC member that R1MX can pretty good match film look especially with anamorphic and 3D.

Now RED have got everything with EPIC, lightweight, 5K, 18 stops DR camera and rest of the job is even more to improve its color matrix.

When this is finished next year then EPIC can equally match or simply replace any film acquisition.

 

[Jeff Coatney]

Welcome, John. Thanks for the prescient feedback.

 

[Iain Stasukevich]

don't give away too much John! we need to save some surprises for the American Cinematographer article.

(hey, what's up Jeff & C.H.??)

 

[John Schwartzman ASC]

because we couldn't use anamorphic lenses on the 3ality rig, we used Arri Ultra Primes and framed it for super 35 2.40. Only DP's will be able to see the difference because of the difference in field of view between scope and flat.

 

[John Schwartzman ASC]

4K DI at Co3.

 

[Jeremy Torrie]

With John's ringing endorsement of anamorphic film as 'the gold standard' I sure hope the Red Anamorphics can make a come back off that back burner...