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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 :)

Red Major Motion Pictures

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Bruce Allen said:
I'll also be interested in the effect of heat on sensor noise.

It'll be funny if the guys in the antarctic get a much better signal to noise ratio and we all end up carrying around portable camera fridges to match their clean images ;)

Bruce Allen
www.boacinema.com
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Depending on how well the RedOne performs under extreme weather conditions (hot/cold), there's always the option of this...

http://www.edn.com/blog/1470000147/post/30010203.html?nid=2432&rid=1357995328

... for the desert shooters.
 
in reference to Full Frontal ... you shoot for the project NOT to show off a camera ... Steve S made a decision about the "look" and i'm sure he never set out to make a bad movie ... whatever project he's working on now i'm sure he feels he has a good project .. at some point he'll decide on The Look ( some of that could be in post) and then he'll go with it ...

unless you have a contract that states he'll only show a "good" movie ( good based on certain standards ?) and he'll make it "look good" for the camera ? ... if not then he's going to do what he thinks is best for the movie ...
 
Black camera bodies aren't just for looks, the darker body won't show in reflections as easily as a white camera body.
 
I would not expose RED (or any camera) to temperatures that would make film melt...

White umbrella is al rule.
...essential for ther crew in certain circomstances anyway.
 
Lowkus said:
Black camera bodies aren't just for looks, the darker body won't show in reflections as easily as a white camera body.
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Hi,

Black will absorb more heat. The US Military had most of their Mitchell's painted white.

Stephen
 
Don't diss Soderbergh, he's a genius - and proves that by swinging some misses. Show me a director that doesn't and I'll show you a wuss.

Personally I found Full Frontal very interesting and never dull, filled with little insights and cleverness (which I usually find irritating but not now). It was especially amusing to see some people leave the theater when the opening credits of the movie-within-the-movie came up. Some people just can't hold their post-modernism :) Soderbergh is one of the most personal and intriguing directors currently working. I'm very much looking forward to these movies - especially now!

Overall this is very exciting news and an another selling point for future customers - "hey, Soderbergh's doin' it!"
 
Mardi_Gras said:
Thanks, Sanjin. This is Robben Island (notice the Lighthouse in the distance), also from my balcony's perspective. Nelson Mandela was imprisoned here for 27 years by the Apartheid (white minority) regime before being released in 1990.

I hope to shoot some nice 4k footage from the Island, his cell room etc...
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A great inspiration is to start to shoot a movie in Tanger (Morrocco)
and go through all Africa's labirints and to finish movie in Capetown with Tablemountain (SA).
A feature of documentary, it depends, somebody could choose.
 
JonathanLB said:
Yeah I like that idea ;) Maybe an alternate neon green one, that just screams quality. I think everyone on set would realize the elite nature of your camera if it was neon green with maybe neon orange dots on it. ;)
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Put red or maybe even 1eet blue LEDs on it. And a large aluminum wing. Then bolt it to the top of your Civic, connect it up to the in-dash DVD player for monitoring, then rocket through LA at full speed pursed by police, and sell it as the first, best, 4K police chase ever. Just let everyone know a day ahead of time so that we can stay off of the roads.

Come to think of it, I've never really had much of a problem with the Civic folk. It's usually the angry SUV people that are the menace.

Bruce Allen
www.boacinema.com
 
Green would be perfect.. The cameras would blend into greenscreen work or they would be easier to roto out in post. Maybe that's what we need... A green camera and a set of green socks/sleeves to fit various lens options, green mattebox and other gear. ...No, I'm not exactly serious here.

If you guys think black absorbs heat, try shiny chrome or polished steel or aluminum finish. I like the shiny aluminum look of some of the prototypes, but that isn't going to happen.

I thought the US military used light grey for most of their cameras and sensitive field gear that got painted???
 
Texas Heat

Texas Heat

Thanks Jim for responding to my post. I would have made this one final point sooner but I had to go out right after I posted. I agree that this heat issue is currently an unknown and who knows, it "may" not be a problem in "any" situation, however, if you have ever spent a hot summer in south Texas you would have experienced common temps of 111 degrees with humidity over 90 percent. When the ambient temp is that high any additional heat generated by the internals of the camera can easily compound the problem to the point of issues showing up in the camera's electronics. I have a varicam and in this worst case I have seen noise issues so severe in the image that I had to power up just to get the shot and then power down to cool down between takes. Panasonic suggests using chemical ice packs but with the high humidity it's a huge water generator. I don't want to short out the camera either. I remember reading an article some 20 years ago in Popular Photography about Olympus making a small run of white OM-3's. A staff photog took it to the beach on a hot day along with a black one to see if there really was a marked difference. What he found, besides the the black camera being so hot it was uncomfortable to hold, was that the cameras internal led display stopped functioning at the hottest part of the day. The white camera was not only cool to the touch but behaved just as it normally did in a cool environment. The Photog wrote the article and concluded it with something like "maybe they should make all cameras white." Of course I'm not suggesting that, but if you know you are going to be regularly subjecting your camera to such extremes then this white color idea just might be worth doing.
 
Will these cameras be doing principle photography or fx and 2nd unit?
 
Steven Soderbergh

Steven Soderbergh

From what I gather, he'll be shooting the first two features with the new cameras... While this is awesome (because he is an incredibly talented and innovative director), I'm a bit concerned about what this means for Red's image.

First of all, Soderbergh tends to stress the peculiarities of whatever medium he uses. Full Frontal was supposed to be a marketing platform for Canon's XL1s, but the movie's aesthetic stressed the difference between film and video. And the stuff Soderbergh DPs has a very "un-Hollywood" look. He rated Ocean's 11 at 1200ISO and used almost entirely natural light.

While my favorite digital movies are those that work uniquely well because they were shot digitally (Sin City, etc.), I don't see how this camera will gain acceptance through such unconventional stuff as Soderbergh's. The real coup will be high gloss productions and "film look." (Though Superman Returns and its fuzzy digital "film look" impressed me less than Apocalypto, I will admit...) Still, this is kind of exciting, but I'm hoping some non-maverick directors will jump on the bandwagon, too.
 
Never heard anyone say that about Superman Returns, it was a beautiful look, most people criticized the film for whatever shortcomings they thought it had, but as far as it looking any different than 35mm film, it didn't. It's a great example of how you can make digital look cinematic.
 
Policar said:
From what I gather, he'll be shooting the first two features with the new cameras... While this is awesome (because he is an incredibly talented and innovative director), I'm a bit concerned about what this means for Red's image.
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We already had this same discussion here in this thread, so I merged these couple posts. I don't see what this matters to RED's "image". Obviosly, Jim is doing this by his own will and if he's fine with it, so am I. Like him or not, Soderbergh has his own style and should be able to provide valuable feedback to the RED team.

First of all, Soderbergh tends to stress the peculiarities of whatever medium he uses. Full Frontal was supposed to be a marketing platform for Canon's XL1s, but the movie's aesthetic stressed the difference between film and video.
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I really doubt Soderbergh cared about Canon marketing with the XL1. Canon tried to market the crap out of the use of their flagship prosumer camcorder on a major film production. By my thinking, it's probably the lowest common denominator camera he was willing to use on the production to get the look he was after.

And the stuff Soderbergh DPs has a very "un-Hollywood" look. He rated Ocean's 11 at 1200ISO and used almost entirely natural light.
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Hmmm... I haven't heard that, but haven't paid attention to the details of Ocean's 11 either. But I thought there was still plenty of "Hollywood look" to it. The studio/producers (wasn't this Weintraub Co.?) chose Soderbergh and I would say he did well for them. The movie made a profit and spawned sequels. It's fine if you didn't like it.. The movie didn't do it for me either, but that isn't the point.
 
Policar said:
I'm a bit concerned about what this means for Red's image.
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One film will not damage Red's image.

There are really bad looking films on every format - I have seen some 35mm that looks worse than well shot Varicam.

There's going to be MANY, MANY movies shot on RED - very quickly. Studio films, low budget indies, commercials and music videos.

There will be stuff that looks AMAZING and stuff that looks HORRIBLE. Just like every format.

As long as they ship the cameras soon - their image will be just fine.
 
from what i recall ... Steven has a deal with HD net/magnolia films to do either 3 or 6 movies .. budgets around 3mil each ...
the 1st movie was BUBBLE ( shot on HD) ...
perhaps this is the 2nd ????? if YES - then i would think he's going to go with a small crew ( like bubble) ... use as much available light as possible ...
and use RED to it's limits (& beyond) ... so for those that plan to use RED in available light ( or small lighting package) this could be a good project to keep a eye on the results ...
then it might not be a HD net project ?
 
hdnet and 4k

hdnet and 4k

donatello said:
from what i recall ... Steven has a deal with HD net/magnolia films to do either 3 or 6 movies .. budgets around 3mil each ...
the 1st movie was BUBBLE ( shot on HD) ...
perhaps this is the 2nd ????? if YES - then i would think he's going to go with a small crew ( like bubble) ... use as much available light as possible ...
and use RED to it's limits (& beyond) ... so for those that plan to use RED in available light ( or small lighting package) this could be a good project to keep a eye on the results ...
then it might not be a HD net project ?
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i wouldn't be surprised if this affiliated with hdnet. didn't mark cuban make a pledge to acquire and/or upgrade hdnet content all in 4k in the near future? talk about future-proofing with red...
 
wigby said:
i wouldn't be surprised if this affiliated with hdnet. didn't mark cuban make a pledge to acquire and/or upgrade hdnet content all in 4k in the near future? talk about future-proofing with red...
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Yeah there was a comment to that effect a few months ago... I think it was referring to the HDNet Films entity and not their broadcast network, but it wasn't that specific. Cuban doesn't have that much influence with the HD.net broadcast studio these days -- it's primarily operated out of Colorado Studios here in Denver. Once RED delivers their complete end-to-end 4K workflow to the market I think we'll see a huge shift over the next couple years. A lot of currently HD-sourced material will shift to 4K. Broadcast formats obviously will be a long time changing -- we still can't even get 1080p or even full raster 1080i in most cases.
 
offhollywood said:
One film will not damage Red's image.

There are really bad looking films on every format - I have seen some 35mm that looks worse than well shot Varicam.
There will be stuff that looks AMAZING and stuff that looks HORRIBLE. Just like every format.

Agreed, but Policar is right too. Soderbergh is really not somebody that flatters whatever format he's using, to the point where in Full Frontal, I walked out of the theater, the quality being so bad that it just took me right out of the story. Which was not that strong either. And if you consider that Spike Lee managed much more acceptable resolution out of little Sony VX-1000's, and that 28 days looked immesurably better on the XL-1, I would agree that Soderbergh will be just a famous name to add to RED's list, and that's important, but if he comes up with something as mediocre as Full Frontal, then yes, I think it could have some sort of impact on RED's perception. But this is inevitable.

I think that Crossing the Line is actually being misused, as Jackson is the maverick of all maverick directors and somebody who is known for being as acutely concerned about story telling as technical expertise to express it. And you already have a full 14 min film in the can, which I would make available for download, sell it on HD-DVD and Blu-Ray and basically get it out there in as many ways as possible. Which of course, presents many concerns in terms of whether he would be happy or willing to let his film be used as a "free" marketing tool for RED, but as a tool to promote this wondrous new tool for film makers from all levels, his film is revolutionary. If only he agreed to let RED really get it out there for all of us to see and analyze, it would do wonders for many of us.

That's dreaming out loud...

Rudi Herbert
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