Ketch Rossi
Well-known member
- Joined
- Jan 10, 2007
- Messages
- 15,041
- Reaction score
- 9
- Points
- 38
- Location
- Sardinia, Italy
- Website
- www.afroditefilms.com
My D R A G O N experience...
Finally, after the last couple of weeks of Cross World Traveling... Pre-Production Madness (more on this in my new thread were I'll post the footage) Production, Post-Production with final Audio-Sound Track-Sound Mastering & Titles in final stages, I am ready to do a little generic write up.
Oh, firstly before I go any further with this, even so is just a thread to detail some of my toughs, and not the main thread were I’ll release the actual Footage shot on Dragon for my Short Film... I again like to take a quick moment to THANK Jarred & Jim, for such an incredible Honor and opportunity given to make use of an Early Red Epic Dragon camera to shoot my first Short Film, as well as a THANKS to every one at RED STUDIOS HOLLYWOOD, Natalie Vital at EXCLUSIVE STUDIOS, Ron Amborn at MAXX DIGITAL, Neil W. Smith y Sam Mestman, Y Blair Paulsen at HOLLYWOOD DI & LUMA FORGE “The Lab” over at “the lot” and each and every one of those that have and are still collaborating in the making of... Which, all will be properly credited in the End Credits and Special Thanks of the Short, but wanted to make sure I yet again remind this here...
I am Passionate to the very core and soul of my being about the power of StoryTelling of Still and Motion Image Capture, which has begin since very early in my childhood, I want such images to allow me to tell my stories and deliver messages to any one, most importantly to my self, yes, “my self” I in fact do not work nor did I ever care to work on any Image acquisition job if for not other meaning then having the pleasure to well, ‘Please” my self with the process and results, and I continue to have such attitude with any and all my work, it needs to please me, or I will not do it, I do not create Art via the Still frozen Frames or the Moving Picture of Motion acquisition for the pleasure of others, but I do so for my own pleasure, yet of course I do love for any one else also to like them, no doubt, but I come first, meaning I do not care to research what others might or might not like, I do what I like and how I like it, if others happened to like it as well, then I am of course very fortunate...
I also happen to LOVE Technology, and I firmly am a believer that Technology allow us to better ourselves in every aspects of life, and Art creation, is not immune to the beneficial effects of technology, and for this I keep my self informed, educated and well versed in all emerging technologies that have to do with what I do, in this case image acquisition, it’s processing and it’s delivery. Having worked with the latest in Cinema Acquisitions for the past 7 years, both in the Pre-Production, Production and Post-Production arena, were I took charge of not only knowing the tools but also knowing the workflow from acquisition to Deliverables, I came across some great cameras that each individually had their pros and cons, and I will not go there, in discussion of Film vs. Digital, or this camera vs. that camera, but I will go on saying that my choices have always been made in absolute disregard to cost, brand, or friendships, and or influence of marketing or pressures form Studios, and made them instead in absolute favor of IMAGE quality.
To this end, one must not only know very well the gear it self, “The Camera” yes, but most importantly, how to properly light a scene to get the wanted results, and know exactly how to work with it in all various elements with the chosen gear, but also be well versed in all aspects of Pre-Production, Production, Post-Production, and Distribution, which this last one means Deliverables, in other terms knowing the final outputs of your images, which in my case I would always preserve an original full size, and infinitely re-size as needed from there to fit all viewing needs. At the end benefit of it all I only found one camera that truly delivered what I wanted, and that camera was the RED EPIC, yet for some reason, even "IT" did not deliver 100% what I wanted from it, but the RED EPIC DRAGON did!!
And I will not go too deep in explaining the obvious Tech Specs already know to every one in paper, but I will say that any and all cameras, including it’s first generation "MX" sensor, all currently available Digital Motion cameras, and 35mm stock is left behind... There is simply NOTHING that can be compared to the DRAGON other then 65&70mm stock, and when Pulling Frame Grabs it reminded me of my Medium Format days, not in the depth of the imaging it self only been attainable with the larger sensors, but of the clarity, the perfect resolve power in complete and absolute respect of the Dynamic Range, the Colors, the Noise levels, the Blacks, the Highlights roll out, the amount of workable information, the strength of the files in the Post workflow process, and of course the incredibly beautiful “SKIN TONES”!!
Granted, not every one will care about some of what I care, as not every one cares to extract Still Frames form their Motion Footage, and the RED EPIC is after all a Cinema Tool, yet as Jim Jannard intended to be, and why the name DSMC (Digital Still Motion Camera) it was at it’s creation intended to do both, and was this very factor that mad me fall in love as soon as it came out, and why the "M8" adventures have started, (thanks again here to Jim, Jarred & Steve Gibby) even so they were cut short for personal and other non related business matters, yet when it did came out in it’s MX sensor rounding up close to 14mpx’s and producing great PRINTS, it is only NOW that with the advent of the new 19 MP's r+DRAGON sensor, Jim’s vision in my strong opinion did truly came to deliver all of it’s promises AND MORE.
Pulling frames form the Dragon Motion Footage form my first short film “The RED dress” has been a truly GREAT experience, and even so I am in the Run-n’-Gun mode with a small 15” MBP Retina and a small Wacom Intuos Pro Touch Pen Tablet, I can already see what an incredible site this images are when I take them to my usual Still Post Workflow, were I spend much less time retouching and more time off my rear... Enjoying life, yet I am reading my self to the WOW factor this images will have once viewed in a LARGE 4K monitor both in Landscape and Portrait view modes to fully appreciate this images off the Dragon, and of course I can not wait to see it‘s Prints!!
When we shot my short film at RED STUDIOS HOLLYWOOD I took the Dragon and shot with it no different then I would have with the MX red Epic, I exposed mostly in ETTL (Expose to the left) mode, were I pushed the blacks, not crushed but pushed more then many would, yet NO NOISE is present in any of the images, shot against Jarred’s new idea, a Black Cyclorama which occupies all of Stage 2, were we shot the Short Film in two days, with some exteriors also all at night at only exception of one scene, of the girl walking with the RED dress, shot in bright sun light, right before She walked in to the shade, and the camera performed incredibly well, NO Noise, NO Clipped Highlights, very STRONG, very POWERFUL new sensor, a truly new WONDER for CINEMATOGRAPHY, and I am happy again to be at the very forefront of this new Technology, which while it will most certainly not make me a better Filmmaker, it will for sure help me create BETTER images!!
As mentioned Neil, has interviewed me as well as Natacha and Blair, my trusted friend which whom without I would have had a much harder time doing what I did, and I would also never have meet such great guys like Neil and Sam over at Hollywood DI & Luma Forge.
Thanks for reading and participating guys!!
The Red Dress BTS Still Epic Frame Grabs Gallery
And....
The Red Dress BTS still Photos Gallery
Interviews NOW LIVE on my YouTubeChannel Oh... mine It's a LONG one... Surprise...
Finally, after the last couple of weeks of Cross World Traveling... Pre-Production Madness (more on this in my new thread were I'll post the footage) Production, Post-Production with final Audio-Sound Track-Sound Mastering & Titles in final stages, I am ready to do a little generic write up.
Oh, firstly before I go any further with this, even so is just a thread to detail some of my toughs, and not the main thread were I’ll release the actual Footage shot on Dragon for my Short Film... I again like to take a quick moment to THANK Jarred & Jim, for such an incredible Honor and opportunity given to make use of an Early Red Epic Dragon camera to shoot my first Short Film, as well as a THANKS to every one at RED STUDIOS HOLLYWOOD, Natalie Vital at EXCLUSIVE STUDIOS, Ron Amborn at MAXX DIGITAL, Neil W. Smith y Sam Mestman, Y Blair Paulsen at HOLLYWOOD DI & LUMA FORGE “The Lab” over at “the lot” and each and every one of those that have and are still collaborating in the making of... Which, all will be properly credited in the End Credits and Special Thanks of the Short, but wanted to make sure I yet again remind this here...
I am Passionate to the very core and soul of my being about the power of StoryTelling of Still and Motion Image Capture, which has begin since very early in my childhood, I want such images to allow me to tell my stories and deliver messages to any one, most importantly to my self, yes, “my self” I in fact do not work nor did I ever care to work on any Image acquisition job if for not other meaning then having the pleasure to well, ‘Please” my self with the process and results, and I continue to have such attitude with any and all my work, it needs to please me, or I will not do it, I do not create Art via the Still frozen Frames or the Moving Picture of Motion acquisition for the pleasure of others, but I do so for my own pleasure, yet of course I do love for any one else also to like them, no doubt, but I come first, meaning I do not care to research what others might or might not like, I do what I like and how I like it, if others happened to like it as well, then I am of course very fortunate...
I also happen to LOVE Technology, and I firmly am a believer that Technology allow us to better ourselves in every aspects of life, and Art creation, is not immune to the beneficial effects of technology, and for this I keep my self informed, educated and well versed in all emerging technologies that have to do with what I do, in this case image acquisition, it’s processing and it’s delivery. Having worked with the latest in Cinema Acquisitions for the past 7 years, both in the Pre-Production, Production and Post-Production arena, were I took charge of not only knowing the tools but also knowing the workflow from acquisition to Deliverables, I came across some great cameras that each individually had their pros and cons, and I will not go there, in discussion of Film vs. Digital, or this camera vs. that camera, but I will go on saying that my choices have always been made in absolute disregard to cost, brand, or friendships, and or influence of marketing or pressures form Studios, and made them instead in absolute favor of IMAGE quality.
To this end, one must not only know very well the gear it self, “The Camera” yes, but most importantly, how to properly light a scene to get the wanted results, and know exactly how to work with it in all various elements with the chosen gear, but also be well versed in all aspects of Pre-Production, Production, Post-Production, and Distribution, which this last one means Deliverables, in other terms knowing the final outputs of your images, which in my case I would always preserve an original full size, and infinitely re-size as needed from there to fit all viewing needs. At the end benefit of it all I only found one camera that truly delivered what I wanted, and that camera was the RED EPIC, yet for some reason, even "IT" did not deliver 100% what I wanted from it, but the RED EPIC DRAGON did!!
And I will not go too deep in explaining the obvious Tech Specs already know to every one in paper, but I will say that any and all cameras, including it’s first generation "MX" sensor, all currently available Digital Motion cameras, and 35mm stock is left behind... There is simply NOTHING that can be compared to the DRAGON other then 65&70mm stock, and when Pulling Frame Grabs it reminded me of my Medium Format days, not in the depth of the imaging it self only been attainable with the larger sensors, but of the clarity, the perfect resolve power in complete and absolute respect of the Dynamic Range, the Colors, the Noise levels, the Blacks, the Highlights roll out, the amount of workable information, the strength of the files in the Post workflow process, and of course the incredibly beautiful “SKIN TONES”!!
Granted, not every one will care about some of what I care, as not every one cares to extract Still Frames form their Motion Footage, and the RED EPIC is after all a Cinema Tool, yet as Jim Jannard intended to be, and why the name DSMC (Digital Still Motion Camera) it was at it’s creation intended to do both, and was this very factor that mad me fall in love as soon as it came out, and why the "M8" adventures have started, (thanks again here to Jim, Jarred & Steve Gibby) even so they were cut short for personal and other non related business matters, yet when it did came out in it’s MX sensor rounding up close to 14mpx’s and producing great PRINTS, it is only NOW that with the advent of the new 19 MP's r+DRAGON sensor, Jim’s vision in my strong opinion did truly came to deliver all of it’s promises AND MORE.
Pulling frames form the Dragon Motion Footage form my first short film “The RED dress” has been a truly GREAT experience, and even so I am in the Run-n’-Gun mode with a small 15” MBP Retina and a small Wacom Intuos Pro Touch Pen Tablet, I can already see what an incredible site this images are when I take them to my usual Still Post Workflow, were I spend much less time retouching and more time off my rear... Enjoying life, yet I am reading my self to the WOW factor this images will have once viewed in a LARGE 4K monitor both in Landscape and Portrait view modes to fully appreciate this images off the Dragon, and of course I can not wait to see it‘s Prints!!
When we shot my short film at RED STUDIOS HOLLYWOOD I took the Dragon and shot with it no different then I would have with the MX red Epic, I exposed mostly in ETTL (Expose to the left) mode, were I pushed the blacks, not crushed but pushed more then many would, yet NO NOISE is present in any of the images, shot against Jarred’s new idea, a Black Cyclorama which occupies all of Stage 2, were we shot the Short Film in two days, with some exteriors also all at night at only exception of one scene, of the girl walking with the RED dress, shot in bright sun light, right before She walked in to the shade, and the camera performed incredibly well, NO Noise, NO Clipped Highlights, very STRONG, very POWERFUL new sensor, a truly new WONDER for CINEMATOGRAPHY, and I am happy again to be at the very forefront of this new Technology, which while it will most certainly not make me a better Filmmaker, it will for sure help me create BETTER images!!
As mentioned Neil, has interviewed me as well as Natacha and Blair, my trusted friend which whom without I would have had a much harder time doing what I did, and I would also never have meet such great guys like Neil and Sam over at Hollywood DI & Luma Forge.
Thanks for reading and participating guys!!
The Red Dress BTS Still Epic Frame Grabs Gallery
And....
The Red Dress BTS still Photos Gallery
Interviews NOW LIVE on my YouTubeChannel Oh... mine It's a LONG one... Surprise...
