Steve Sherrick
Well-known member
In the Dragon Update thread I briefly discussed a current commercial I'm working on where it came down to RED Epic and Alexa shooting ArriRAW. Through this process, it became obvious to me that there really is a perception problem out there when it comes to RED. In this particular case, there is clear cut reason for shooting Epic. Resolution is a key factor. Lots of post zooms will be done. The DP is not a fan of RED, but in this instance he agreed that RED was the best tool for the job. Post had some input and complained about RED workflow, but I had an answer for all of their complaints. So, all of this should have led to Epic being the camera of choice right? Nope. We're shooting Alexa, and not only that but we are shooting at 1080P ProRes 444. I am left scratching my head. What happened?
From what I can ascertain, the key decision makers have had issues on RED shoots. Perhaps it was equipment failures, or perhaps there was a problem in post with the files. Regardless, someone felt so strongly about their dislike of RED that they chose the wrong tool for the job in my opinion. This got me thinking about the perception of RED out there in the various markets. I work mostly in commercials and features. From 2008 until mid 2011, a large percentage of the jobs I did were RED, starting with the RED One and then seeing the shift to Epic. But at some point in late 2011, a high percentage of the jobs I was working on were being shot with Alexa. Anyone that knows me personally or has observed my posts on Reduser and other forums knows I'm fairly objective. I like the Alexa. I don't have a problem with it at all. When it's the right tool and someone decides they want to shoot with it, I embrace their decision and do the best job I can on that job. But I am surprised at the numbers a bit. So, I'm trying to figure out what is helping Alexa to win jobs, and when I break it down in terms of technical comparisons, I can understand the attraction of certain features the Alexa has to offer. But what strikes me is the attitude towards RED and their products that I am seeing more and more of. RED is perceived by many people (producers, DPs, editors, etc) as the "bad guys". I hear some of the usual banter about cameras breaking down, AC's hating the form factor, DPs liking Alexa's handling of highlights and the overall look of the footage better. Many will tell me the Alexa is just more at home on a set where film cameras used to be. And some people have point blank told me they just don't like how RED operates.
Now, when I step back and analyze everything objectively, I am able to identify some of the weaknesses in RED cameras. So I grant those flaws to those who are shunning them. But I also identify strengths, and there are many. When choosing a camera you would hope that the strengths are taken into consideration as much as the weaknesses. Same with any camera, including the Alexa. I have seen two of them break down on set, one with a heat issue (go figure, Alexas never overheat right?). These cameras are complex, computer-based systems. They are going to fail sometimes. I wouldn't tell a producer to never use an Alexa because I've seen them break down a couple of times. Now, if every shoot there was a major problem, with various camera samples, then sure that would then be a flag to raise. But in all of my years with dealing with RED cameras, I've had just a few problems that would be in the category of major troubleshooting. Some I could resolve right there on set, some a new body had to be brought in. Overall though, it's a track record that seems about what I would expect.
So, what am I getting at? We love RED for being rebels, for breaking down barriers, for putting cameras into the hands of those who otherwise may never have had a chance to own a camera of such quality. And in our own, independent production worlds, often the only perception that matters is our own. However, in the bigger production world of high end commercials, features, music videos, etc. I think there is a perception problem. I think RED is trying to fix it, although I can't speak with any authority on that matter as I have no idea about what happens behind closed doors. They have some heavy-hitter filmmakers who champion them, such as Steven Soderbergh, Peter Jackson, and Ridley Scott. That is a huge accomplishment. But out in the trenches, anti-RED sentiment is strong. And while RED is perhaps responsible for some of this (some took exception to how RED came out of the gate) with their rebel attitude, I think all of us need to take some responsibility in this as well. We need to make sure projects being filmed with RED cameras run as smoothly as possible. We need to cover all of our bases, know the cameras inside and out, know how they interface with industry standard equipment, make sure all of the data is backed up with precision and workflows are clear and efficient. We need to work with post to help build the best bridge between the set and the edit room so that RED footage is not difficult to work with (which is often just due to inexperience or resistance to change) and we need to know when to draw the line between being over-the-top fan boys and being appreciative customers.
I acknowledge that there are people who will never be convinced to look at RED objectively. They loathe everything about RED, especially folks who really are upset that film is going away. I think they see Alexa as Arri's only chance at survival in a timeline that was sped up dramatically by RED. So if they are forced to shoot digital, they will put their trust in the company that has supported them throughout their entire career. This is understandable to a degree. Same goes for ACs who have been using Arri gear for eons. They know what works and are resistant to change and adapting to new methods. Again, understandable.
In some ways, I don't want RED to change at all because I love the attitude of "Let's set out to do the impossible". I just hope that as time goes on, the perception of RED in the big picture gets healthier. I hope that producers and editors leave the camera decisions up to the DPs. I hope for a healthy competition amongst the camera manufacturers that results in great tools for filmmakers without espionage and ugly lawsuits. I hope for a strong relationship between production and post-production so that formats don't get in the way of creativity. Perhaps in the end, what I'm hoping for is a reality that is perhaps not realistic. But one can hope right?
Finally, I'd like to say that I appreciate what RED has been able to accomplish with their ambitious team, starting with Jim and his passion for cameras and optics. Obviously, without him you aren't reading this thread right now, and you certainly wouldn't own a 5K camera right now. Jim has received a lot of praise from this community, but I can imagine he has also had to deal with a lot of personal attacks and ridicule from people who wanted him to fail. I am sure it has made him stronger and want to push harder. Jarred is a unique individual. Passionate about this stuff, willing to put his ass on the line, knowing he may be stepping over the line in doing so. A man with the shortest email responses I have ever seen, but usually straight to the point. When you set out to do something that will change an industry like these guys have, you are bound to piss off a few people along the way. So, I never want to see these guys lose their passion. I simply want their cameras to be given an equal chance out there in the battlefields of production. Right now, I don't think it's always the case, and hopefully there's a way to improve that. I think Redusers are part of that solution.
This is just me thinking out loud here. I'll sit back and see what others feel about this.
From what I can ascertain, the key decision makers have had issues on RED shoots. Perhaps it was equipment failures, or perhaps there was a problem in post with the files. Regardless, someone felt so strongly about their dislike of RED that they chose the wrong tool for the job in my opinion. This got me thinking about the perception of RED out there in the various markets. I work mostly in commercials and features. From 2008 until mid 2011, a large percentage of the jobs I did were RED, starting with the RED One and then seeing the shift to Epic. But at some point in late 2011, a high percentage of the jobs I was working on were being shot with Alexa. Anyone that knows me personally or has observed my posts on Reduser and other forums knows I'm fairly objective. I like the Alexa. I don't have a problem with it at all. When it's the right tool and someone decides they want to shoot with it, I embrace their decision and do the best job I can on that job. But I am surprised at the numbers a bit. So, I'm trying to figure out what is helping Alexa to win jobs, and when I break it down in terms of technical comparisons, I can understand the attraction of certain features the Alexa has to offer. But what strikes me is the attitude towards RED and their products that I am seeing more and more of. RED is perceived by many people (producers, DPs, editors, etc) as the "bad guys". I hear some of the usual banter about cameras breaking down, AC's hating the form factor, DPs liking Alexa's handling of highlights and the overall look of the footage better. Many will tell me the Alexa is just more at home on a set where film cameras used to be. And some people have point blank told me they just don't like how RED operates.
Now, when I step back and analyze everything objectively, I am able to identify some of the weaknesses in RED cameras. So I grant those flaws to those who are shunning them. But I also identify strengths, and there are many. When choosing a camera you would hope that the strengths are taken into consideration as much as the weaknesses. Same with any camera, including the Alexa. I have seen two of them break down on set, one with a heat issue (go figure, Alexas never overheat right?). These cameras are complex, computer-based systems. They are going to fail sometimes. I wouldn't tell a producer to never use an Alexa because I've seen them break down a couple of times. Now, if every shoot there was a major problem, with various camera samples, then sure that would then be a flag to raise. But in all of my years with dealing with RED cameras, I've had just a few problems that would be in the category of major troubleshooting. Some I could resolve right there on set, some a new body had to be brought in. Overall though, it's a track record that seems about what I would expect.
So, what am I getting at? We love RED for being rebels, for breaking down barriers, for putting cameras into the hands of those who otherwise may never have had a chance to own a camera of such quality. And in our own, independent production worlds, often the only perception that matters is our own. However, in the bigger production world of high end commercials, features, music videos, etc. I think there is a perception problem. I think RED is trying to fix it, although I can't speak with any authority on that matter as I have no idea about what happens behind closed doors. They have some heavy-hitter filmmakers who champion them, such as Steven Soderbergh, Peter Jackson, and Ridley Scott. That is a huge accomplishment. But out in the trenches, anti-RED sentiment is strong. And while RED is perhaps responsible for some of this (some took exception to how RED came out of the gate) with their rebel attitude, I think all of us need to take some responsibility in this as well. We need to make sure projects being filmed with RED cameras run as smoothly as possible. We need to cover all of our bases, know the cameras inside and out, know how they interface with industry standard equipment, make sure all of the data is backed up with precision and workflows are clear and efficient. We need to work with post to help build the best bridge between the set and the edit room so that RED footage is not difficult to work with (which is often just due to inexperience or resistance to change) and we need to know when to draw the line between being over-the-top fan boys and being appreciative customers.
I acknowledge that there are people who will never be convinced to look at RED objectively. They loathe everything about RED, especially folks who really are upset that film is going away. I think they see Alexa as Arri's only chance at survival in a timeline that was sped up dramatically by RED. So if they are forced to shoot digital, they will put their trust in the company that has supported them throughout their entire career. This is understandable to a degree. Same goes for ACs who have been using Arri gear for eons. They know what works and are resistant to change and adapting to new methods. Again, understandable.
In some ways, I don't want RED to change at all because I love the attitude of "Let's set out to do the impossible". I just hope that as time goes on, the perception of RED in the big picture gets healthier. I hope that producers and editors leave the camera decisions up to the DPs. I hope for a healthy competition amongst the camera manufacturers that results in great tools for filmmakers without espionage and ugly lawsuits. I hope for a strong relationship between production and post-production so that formats don't get in the way of creativity. Perhaps in the end, what I'm hoping for is a reality that is perhaps not realistic. But one can hope right?
Finally, I'd like to say that I appreciate what RED has been able to accomplish with their ambitious team, starting with Jim and his passion for cameras and optics. Obviously, without him you aren't reading this thread right now, and you certainly wouldn't own a 5K camera right now. Jim has received a lot of praise from this community, but I can imagine he has also had to deal with a lot of personal attacks and ridicule from people who wanted him to fail. I am sure it has made him stronger and want to push harder. Jarred is a unique individual. Passionate about this stuff, willing to put his ass on the line, knowing he may be stepping over the line in doing so. A man with the shortest email responses I have ever seen, but usually straight to the point. When you set out to do something that will change an industry like these guys have, you are bound to piss off a few people along the way. So, I never want to see these guys lose their passion. I simply want their cameras to be given an equal chance out there in the battlefields of production. Right now, I don't think it's always the case, and hopefully there's a way to improve that. I think Redusers are part of that solution.
This is just me thinking out loud here. I'll sit back and see what others feel about this.
