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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

THE GREATEST CAMERA EVER!!!!!

Mark Toia

Mark Toia

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Firstly I'd like to say, thanks Jim and All the RED team for the background support over the years and for designing and making the best cinema camera ever!

I've officially shot my very last REDONE job.

I have to say openly that the RED changed my whole life. I was thinking of early retirement and just going to sit on my boat and get fat!
But the RED ONE made me sit up and take notice.

Being a 35mm film man through and through, I thought i'd be shooting 35mm till the end of my career. And being such a fussy bastard, there was know way on earth I was going to leave film land without a good fight. The REDONE put up a great fight... and won.

Even though i'm moving into RED EPIC land, I want to say to all REDONE users that the REDONE will compete against anything on the market (other than the EPIC) for many years to come. It shoots an image 4x more than what you actually need for 99% of what you do. Don't think you have to rush and buy an EPIC, The REDONE has years left in it.

The REDONE is by far the camera that started the whole digital RAW cinema revolution and got many other manufactures off there fat arses! REDONE will never be forgotton.

My hates off to the Greatest camera ever.

Here is some shots from my very last REDONE shoot.
http://www.zoomfilmtv.com.au/ftp/Toia_latest/Bank_of_China_100years_1280.mov

BOC_Pics_1.jpg
 
Mark, that's beautiful ! Thanks for sharing. What do you use for the grading ?
 
Actually, that's what I thought... :-)

It's very kind of you sharing with the community. Your work is inspiring.
 
Mark,

Thanks for sharing this. It's the superstars like you adopting the system and being very public about the benifits that really helps us all out. When people see that the worlds top commercial director/DP's like you chosing this technology and turning out the images you do, helps all of us dweebs.

Thanks for your enthusiastic approach. It's contagious.

David
 
It's official Toia. You shit me!

Gorgeous work as usual. Keep rockin' that Epic. And shoot a freakin' feature alright already!
 
Looks great Mark!

Also I found that REDLogFilm ProRes 422 HQ from RCX to FCP then using GenArts Sapphire FilmEffect plug-in is the best way to achieve a pure organic film look out of R3D files.

Later you go in Resolve just to tweak a couple of things if needed.

Simple, easy, fast & efficient workflow with RED.

With Epic files is even easier because of much better colorimetry (there is more pixels in De-Bayer process with the new A/D matrix onboard).

And hopefully with the new upcoming RED DRAGON sensor will be something like to get a film look straight out of the box in EPIC.
 
Sanjin Jukic said:
Looks great Mark!

Also I found that REDLogFilm ProRes 422 HQ from RCX to FCP then using GenArts Sapphire FilmEffect plug-in is the best way to achieve a pure organic film look out of R3D files.

Later you go in Resolve just to tweak a couple of things if needed.

Simple, easy, fast & efficient workflow with RED.

With Epic files is even easier because of much better colorimetry (there is more pixels in De-Bayer process with the new A/D matrix onboard).

And hopefully with the new upcoming RED DRAGON sensor will be something like to get a film look straight out of the box in EPIC.
Click to expand...

Yes... Your onto to me :)
 
Shane Betts said:
It's official Toia. You shit me!

Gorgeous work as usual. Keep rockin' that Epic. And shoot a freakin' feature alright already!
Click to expand...

Thanks Shane,
Yes, the movie is bumbling away in the background. few hurdles to jump as they say. But thats typical with movies.

Sorry for shitting you ..:cheers2:
 
The Best but...

The Best but...

I certainly agree with Mark in regards to the Red One truly earning it's title as a "game changer" My issue with the Red One and the Epic is that one of it's strength is also its greatest weakness. The cameras ability to record only Raw images. Marks position with a knowledgeable in-house post flow is a good example where raw recording works and in 2011 virtually all the large post houses are R3D friendly. The dilemma is that the majority of production falls into other categories.

Many independent production houses have a single NLE with few technical resources. They deal with many formats but unless their (usually freelance) editor is tech savvy they struggle to deal with the file based Red footage. It is seen as an imposition and a cost.

I have also worked with large network TV shows that refuse to take the simple steps needed to deal with Red footage. One programme I worked for decided to shoot Red and then their post department refused to deal with the footage unless it was shot 2K which it duly was.

The last programme I worked on we shot for six weeks in a third world country lugging the Red up mountains, through jungles often in pouring rain and stifling heat. Footage was sent back and transcoded while were shooting. Went to the grade the other day and the transcodes (they refused the cost of grading the R3D) were abysmal often so dark the highlights were 10ire. Their post people just did not make the effort to learn the Red workflow let alone do a QC check.

Their is an attitude by some post people probably from the offline days where they do not see themselves as the custodian of the image. I understand some of the best editors are not technical people so transcoding and codecs are a foreign language. I also realize many people do make the effort to learn the simple workflow but it is amazing how many are resistant.

This has been one of the contributing factors to the Alexa becoming the camera of choice in Sydney at least. Reds dilemma is that it's picture quality requires educated, motivated and appropriately equipped post people. Also some DOPs prefer the baked in ProRes approach because they light and shoot beautiful crafted images straight out of the camera.

While I personally support the RAW approach I really need to have a choice based on my clients requirements. While it's relatively easy to add an external recorder it needs an integrated approach to be truly effective.

Could I humbly make some suggestions to Red?

1/ In RedcineX please add some simple presets that post people could go to if they were unwilling or unable to dig deeper? Presets could include "Offline," "output for online and detailed colour grade" "output for online with basic colour grade" etc

2/ I understand that Red has put the ProRes module on the back burner. If that is the case please add output settings to the Epic similar to the Alexa. A flat gamma version designed for grading or a version similar to the Rec709 setting. I realize you can use the RAW or Color setting on the outputs but I am sure they could be tweaked and setup specifically for external recording.

I know Red strongly believes in the value of the RAW workflow but it does not suit every level of production. Just as Nikon and Canon give their users JPEG or RAW to choose from I hope Red will do the same.
 
Mark,

Have you posted any EPIC stuff yet? I've been away for a while? What would the DR be like on an EPIC if it was the camera on the car tunnel shot?

Wasn't all of this stuff shot on your RED MX?

David
 
Tom I will gladly convert your RED raw footage to what ever you like for whom ever you like. I do this for a lot of people, and I generally convert everything to REDCOLOUR2/REDGAMMA2 and put the footage onto HDCAM or XDCAM HD disc.

This helps the production companies who have troubles ingesting files.(WHICH THERE ARE A LOT IN SYDNEY!).

The main problem is that people are scared of change, and there are a lot of people bagging RED in Australia because they don't understand how to use it. Red Cine X is a wonderful piece of free software and a red rocket card is very affordable for the average post production company.

I own a RED and an EPIC, and through people like Anthony Pawley from southern cross cameras, and people like David Wakely, John Bowring (Rest in Peace)/ Lemac and myself we are trying to get the rest of Sydney and Australia to see the benefits of shooting at 4k and using RAW. I still don't get why people choose ALEXA with its "14 stops of apparent dynamic range" want to shoot directly to PRO RES, I am sorry but that is a joke.

If the EPIC or future cameras can still shoot RAW and have pro res or AVID DNX as an offline(or online for the people who want it) option, well that would be the perfect world. But with all of the controversy about Final Cut at the moment, I probably wouldn't bother.
 
Well said Tom, and is a big part of the reasoning in me buying an F3 to have in addition to my R1MX and soon to arrive EPIC. I now have an Atomos Ninja (while waiting for the samurai) bolted to the F3 for Prores HQ and potentially for the EPIC...but that defeats the point of using RED in the first place. But that's another thread:) No matter how easy it is for some, and as a DP it just sometimes puts too much into the hands of others to destroy what I crafted. The back burning of the Prores module for me anyway is a shame. I wonder if in camera RGB 1080p is still on the cards?
Great images as always Mark, and if you ever feel like a bit of nostalgia I'll be keeping my R1.
 
Tom Gleeson said:
I certainly agree with Mark in regards to the Red One truly earning it's title as a "game changer" My issue with the Red One and the Epic is that one of it's strength is also its greatest weakness. The cameras ability to record only Raw images. Marks position with a knowledgeable in-house post flow is a good example where raw recording works and in 2011 virtually all the large post houses are R3D friendly. The dilemma is that the majority of production falls into other categories.

Many independent production houses have a single NLE with few technical resources. They deal with many formats but unless their (usually freelance) editor is tech savvy they struggle to deal with the file based Red footage. It is seen as an imposition and a cost.

I have also worked with large network TV shows that refuse to take the simple steps needed to deal with Red footage. One programme I worked for decided to shoot Red and then their post department refused to deal with the footage unless it was shot 2K which it duly was.

The last programme I worked on we shot for six weeks in a third world country lugging the Red up mountains, through jungles often in pouring rain and stifling heat. Footage was sent back and transcoded while were shooting. Went to the grade the other day and the transcodes (they refused the cost of grading the R3D) were abysmal often so dark the highlights were 10ire. Their post people just did not make the effort to learn the Red workflow let alone do a QC check.

Their is an attitude by some post people probably from the offline days where they do not see themselves as the custodian of the image. I understand some of the best editors are not technical people so transcoding and codecs are a foreign language. I also realize many people do make the effort to learn the simple workflow but it is amazing how many are resistant.

This has been one of the contributing factors to the Alexa becoming the camera of choice in Sydney at least. Reds dilemma is that it's picture quality requires educated, motivated and appropriately equipped post people. Also some DOPs prefer the baked in ProRes approach because they light and shoot beautiful crafted images straight out of the camera.

While I personally support the RAW approach I really need to have a choice based on my clients requirements. While it's relatively easy to add an external recorder it needs an integrated approach to be truly effective.

Could I humbly make some suggestions to Red?

1/ In RedcineX please add some simple presets that post people could go to if they were unwilling or unable to dig deeper? Presets could include "Offline," "output for online and detailed colour grade" "output for online with basic colour grade" etc

2/ I understand that Red has put the ProRes module on the back burner. If that is the case please add output settings to the Epic similar to the Alexa. A flat gamma version designed for grading or a version similar to the Rec709 setting. I realize you can use the RAW or Color setting on the outputs but I am sure they could be tweaked and setup specifically for external recording.

I know Red strongly believes in the value of the RAW workflow but it does not suit every level of production. Just as Nikon and Canon give their users JPEG or RAW to choose from I hope Red will do the same.
Click to expand...

1000% agree with you.
Arri is a lazy mans camera, thats why its winning the hearts and minds over RED in many countries I go to.
I mean lazy because people just want to shoot and go.. not shoot, then learn how to transcode clean files... So the Arri supports this quick, fast lazy (dont have to think about post) attitude. Even though the EPIC kicks the Alexas arse in so many ways.. the Arri wins the biggest tick. Work flow Ease.
Silly, but true.

Working with all i shoot in house, we don't have any issues, but 90% of the world does not work like use. So hence the problem.

Anyway...
I can agree with you though, If RED made a PRORES making box that spat out REDLOGFILM or LOGC 4444 files...As well as the RAWS, Then seriously these conversations would die off over night.
in about 2 months time, NINJA will be bring out a HDSDI PRO RES BOX (with a screen on it). Set the output lut of the EPIC to REDLOG and you have your PRORES there and then. 300 FPS as well. (once play back is running)
Then you have it all, RAW, PRORES, SMALL CAMERA, 1/3 the Price of ALEXA.... all at your finger tips.

I dont think there is much to worry about, I like all my competitors shooting Alexa, I can do so many things they cant, It's great. It's like I have been given the golden egg. I'm lovin it!
 
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