RED #8 testing team & some details

[Steve Tammi]

this would be a fantastic add on to LART before or after and a great live action plate for the VFX team.

If this can be added right before or after LART I would be willing to hang around for another day or so.

Steve

 

[Blair S. Paulsen]

See you there

See you there

I was already having trouble containing my excitement over getting the RED1 itself. Adding the LART is almost too much. Really looking forward to meeting and working with what looks to be a fabulous group.

During my life I have been fortunate enough to be a part of self-selecting groups of discerning people who don't just accept the norm, they want more. The vision and passion for a tool like the RED1 demonstrates a true love for the moving image as more than just a means to an end, that there is an enduring value to the art itself.

The ability to access the best optics and work in a RAW color space without the overhead of film is like a dream come true. Call me "RED Fanboy" as a pejorative if you like, I wear that moniker with pride.

 

[Ken Corben]

If this can be added right before or after LART I would be willing to hang around for another day or so.

Steve

Very cool Steve. I know Gibby trusts me with his life whether in the Serengeti or the Arctic and likewise but the #8 underwater seems to be a real sphincter factor:clown2:

When we have the official RED shipment dates let's talk about flying you to Florida with your BABY for two days so Mike Hastings can build the prototype housing. This possibility provides an amazing addition to the LART as an add on with the combination of underwater, CGI and live action that will be visually stunning projected on the 4K screen here in town.

SCHWING!

PS - I'll see if we can get a xenon and either David Mullen or Ralph Oshiro to help perfect the "mystical" lighting.

 

[cckid]

Hi to everyone,

The clock is thicking...revolution is just about o begin...seems like it is going to be an epic meeting...let me throw a list of stuff I would like to see...

1. nikon vs. film lense...same shots with two different lense septups...one with film optics (zeiss, cooke) and one with nikon

2. studio...green screen stuff...with post added....hopefully do two setups...high and low contrast...and a talent with some curly hairs...to be tested in front of the green...just to see this critical situations


3. high key vs. low key situations...obviously testing how much contrast can it really take before loosing detail...please use some high reflectance materials to see how much it can take...

4. different frame rates...slow motion...ramping...timelapse...

5. in terms of short movies...a couple of nice los angeles cuties with or without milk would do for me...jjust make sure they have at least one piece of red clothing on them just for sake of Jim and of course for the sake of critical testing...my opinion is that there's no need to spend too much effort on putting a plot together...since you have a huge time limit...unless you want to do an ocean 14 sequel...then I guess you are all set...

6. I am sure you gonna do a great job...looking forward to see the results...please document it welll....and don't forget to tell us about postproduction workflow you've used...

Best regards and good luck

 

[Gavin Greenwalt]

I'm pretty sure the 300 scene was just shot on a normal (aka dry) green screen. So it's still not out of the running. In fact it was the VFXtalk challenge last month I believe.

 

[Michael Ragen]

Part of that sequence in 300 was shot underwater.

 

[Ken Corben]

Wet for dry

Wet for dry

The live action plates are "underwater". The technique used in the Oracle scene is the most creative wet for dry technique I have ever seen. This is what I have in mind for the homage scene for LART.

The original plate shows the Oracle girl actor Kelly Craig filmed in a large water tank against bluescreen.

VFX group on how it was done:
http://www.digitalartsonline.co.uk/features/index.cfm?FeatureID=1590

These photos are the live action plate, finished effect from 300 and the lovely Kelly Craig.

 

[Albert Cheng]

Sharky...I am so down with you on that tank shot.

The other wet for dry shot I clearly recall is the portishead video that chris cunningham did. I remember reading what a bitch it was for the post team to hand paint out all the bubbles...haha.

 

[Alexander Nikishin]

Anyone here own an aquarium store?

 

[Ken Corben]

Job security for underwater shooters

Job security for underwater shooters

Anyone here own an aquarium store?

LMAO - as a producer I would say the tank shot is fiscally sound. As an underwater shooter I would argue that the camera and operator are performing artists also and that certain weightless camera moves can only be achieved by an in water camera.

Shooting the plates underwater is historical in many respects. First underwater RED 4K footage combined with the wicked CGI talents I've seen from Jeff, Gavin and Albert (opcode). Of course the VFX guys "must" be on set to see, ahemm, Brianna's performance and check all the technical aspects of the shoot.

Mike Hastings should be able to build a video tap into the prototype housing no problem so that an on set HD monitor is topside for all to see.


BTW - our model is way hotter than Kelly Craig.

FYI - I use a rebreather for these type of shoots which removes any major bubble interference with the shot from the camera operator (rebreathers are bubbless underwater life support systems).

 

[Alexander Nikishin]

A perfect game plan, that's what I like to hear! :biggrin:

 

[Gavin Greenwalt]

Anyone here own an aquarium store?

That could be my favorite quote on REDuser to date. Even taken out of context you can just instinctively tell there is a crazy story behind it.

 

[Alexander Nikishin]

That could be my favorite quote on REDuser to date. Even taken out of context you can just instinctively tell there is a crazy story behind it.

lol, it'd be great to document the aquarium's trip to the LART shoot also....makes for great tv.

Just imagine explaining your need for a large aquarium to your typical aquarium shop owner...."You want a 2,000 gallon tank to put a beautiful naked woman into? And you're going to put it on camera!?!?". hehe.

 

[Jeff Kilgroe]

:biggrin: 2,000 gallons seems a bit small to me. Gotta have room for the pretty lady to move about and a camera operator.

 

[Steve Gibby]

Hmmm...there obviously won't be any naked women involved with L.A. REDTest - but I really like Sharky's idea of the well-lit pool sequence with a nice looking actress! The subtle variations of reflectivity that water presents should reveal how RED One can perform in such situations.

 

[Ken Corben]

Gibby, I would love to see footage shot in all kinds of existing light at night too--but more Collateral and less Miami Vice.

This is a good suggestion. The test agenda is taking shape and the LART team is in for long days. I will suggest a "Collateral" night shoot on day 1 with some of the veteran DP's and AC's since shooting WFO on primes requires a specific skill set (read subtle key and fill light plus 4K focus here).

 

[Michael Hastings]

Underwater Housing for Red.

Underwater Housing for Red.

I'm on board with whatever you guys can work out.

I also want to keep raising the possibility of getting a RED mockup body - if anybody has personal contact with the RED team or any of you are visiting here.

This is a busy time of year for me, but I will try in the next few days to make contact with Erik at Birger about the mount, and also start emailing/calling all of the RED staff with my request for an aluminum or delrin body to work with.

P.S. to the RED team, I am happy to send a block/blocks of aluminum or delrin out to you if it would help getting a body machined.

P.P.S. I know nobody wants to believe this and I understand Gibby's hesitation, but - particularly in a pool type situation - once we put the RED in the underwater housing it is probably safer than when it is being handled throughout the day in all of the other tests - it's hermetically sealed, shock and impact protected, etc. (We really are pretty good at making these things waterproof.)

Very cool Steve. I know Gibby trusts me with his life whether in the Serengeti or the Arctic and likewise but the #8 underwater seems to be a real sphincter factor:clown2:

When we have the official RED shipment dates let's talk about flying you to Florida with your BABY for two days so Mike Hastings can build the prototype housing. This possibility provides an amazing addition to the LART as an add on with the combination of underwater, CGI and live action that will be visually stunning projected on the 4K screen here in town.

SCHWING!

PS - I'll see if we can get a xenon and either David Mullen or Ralph Oshiro to help perfect the "mystical" lighting.

 

[Steve Gibby]

P.P.S. I know nobody wants to believe this and I understand Gibby's hesitation, but - particularly in a pool type situation - once we put the RED in the underwater housing it is probably safer than when it is being handled throughout the day in all of the other tests - it's hermetically sealed, shock and impact protected, etc. (We really are pretty good at making these things waterproof.)

LOL...Sharky just likes to tease me about me supposedly being reluctant to put #8 in a water housing, but the fact is I'm not reluctant to do so, and I've shot in the water (shallow & surface) with my camera systems throughout my whole career. I'm planning to have a water sports housing made for #8 as soon as I get it - and you may very well be the one to make it.

I've waited a long time for #8 and I'll be the one to use it in a housing. We'll find Sharky another one to put in a housing while he waits for his! If a housing was available for #8 for in-pool shooting for LART, I guess I'd let Sharky use my rig...but I'd watch him closely as he did! :blink: :biggrin:

 

[Brook Willard]

Well since we're getting crazy, I can call a few certain camera "flyers" I know...

 

[Steve Gibby]

Well since we're getting crazy, I can call a few certain camera "flyers" I know...

LOL...could happen sometime! A minimal setup RED One would be a "tad" big for a helmetcam, but maybe a shoulder brace mount or hand strapped with a safety leash...?

We won't be getting to that for LART - but I'd definitely like to file that under "must do in the future ASAP!"

For our wedding anniversary a few years ago, me and my wife strapped tiny POV cameras in housings on the side of our knees (looking up toward our heads) and bungee jumped 300' from a bridge in a forest in Costa Rica. The footage was unreal! We had someone else shoot the jumps from the bridge top and below the bridge, and it all aired nationally in a TV segment on Real TV called "Anniversary Bungee Jump!". RED One is a little big for that, but yes, after LART I'll be putting #8 in all sorts of precarious situations to get unusual shot sequences...