Where credit is due

[Peter Lyons Collister ASC]

This post belongs on the cinematography forum but I will post it here also.

In the past I have heard so many pros and cons about both RED and Jim. Arguments about marketing style, 4K, r3ds, post etc.

Whatever you think about RED two things need to be acknowledged:

1) RED caused the industry to adopt 4K years before it would have happened. (without Jim, Jarred, Ted, Deanan, Graeme, Matt, Brent etc. leading the way)
Jim thought it would happen sooner since Sony has had a 4K projector for a long time. But perhaps the display division and the acquisition devision never really talked.

2) More important to us as film makers is the fact that because the RED One and now the Epic have a price point between 25,000-58,000 it has caused Sony and Arri to compete financially. Prior to now the F35 and Arri D-20/21 cost $250,000 with media recorders.
It is now possible for rental houses to buy more cameras and for us to make films a little less expensively.

It is now possible for us to own a professional Digital cinema camera and experiment and create. This my friends, is huge.

I can now shoot 100 million dollar films and also run out and shoot stunning 2nd Unit time lapse or sunrise establishing shots on a moments notice, with kit that fits in a Prius.

So we now have multiple beautiful cameras and we can choose which one works for our vision. We as DPs can choose cameras much like we used to choose different Kodak and Fuji film stocks.

So credit where credit is due

 

[Jason Diamond]

Huzzah!

I echo your sentiments both creatively and financially. Thanks for the post.

Jason

 

[Luc Bouvrette]

Well said.

 

[christopher witzke]

It is amazing..... And it's only going to get better.

 

[Eirik Tyrihjel]

I agree, and I also think the ability of REDCODE RAW (R3D) to compress the huge amounts of data to a managable size, with the user selectable compression ratio, - with minimal visual loss is an amazing accomplishment and a key factor in REDs accomplishment.

 

[Graeme Nattress]

Thanks Peter!

Graeme

 

[Curran Giddens]

It is now possible for us to own a professional Digital cinema camera and experiment and create. This my friends, is huge.

I love this. And if your experiments create a bit of magic that you could never recreate, you will be glad you got it in 4K+.

 

[AnthonyFlores]

Amen Peter. A post like this has even more meaning coming from someone like you

 

[Brent Carter]

Great post and thank you, Peter. When there is competition, the customer ultimately wins.

BC

 

[Antonio Forjaz]

Very well said

 

[Ketch Rossi]

Tell it like it is Peter!!

Btw, we are in Milan now, so don't be shy, when in the area Shout...

 

[Roberto Lequeux]

Absolutely. Couldn't agree more. And to think people (used to, cause now they are hiding) make fun of those that loved RED...

 

[Bob Minervini]

Great Post! thanks

 

[Martin Weiss]

Without RED, us small shooters would all be shooting on HD and be dreaming of an Alexa.

Good times, indeed.

 

[Steve Gibby]

Excellent words Peter...very cool indeed my friend

I really enjoyed the visit with you and Brook on the set of Spiderman this past March. Television, not features, are my end of the business - but it was way cool to get a peek at your workflow.

I totally agree - the small size of Epic enables increased mobility - which in turn opens up a whole new realm of quick shot possibilities for all of us, no matter what end of the industry we work in, or styles/genres we shoot in.

Epic is flat out fun to shoot with - and I expect the Scarlet Fixed to be incredibly fun too )

Jim's dream, and Red Team's hard work, has now opened up a myriad of possibilities for all of us working out here in the industry. Over all these years I can't remember a more fun time to be shooting...thanks to Red

 

[Sam Taylor]

I am very glad that the example of Red has compelled Arri to become more cost effective. This benefits everyone!