Steve Gibby
Red Savant
Physical condition and camera work
Yes, physical conditioning is critical for getting certain types of mobile hybrid cine/EFP style shots. An in-shape shooter can place cameras quickly and easily in and out of situations that an out of shape shooter simply can’t. Physical coordination, an eye for the shot, mastery of available technology, mastery of optics, and experience are the other elements which, when combined with physical conditioning enable getting those types of very challenging, mobile, small crew or single operator shots. When it all works, its like tai chi or martial arts with a camera. One of my skill specialties through my career has been getting those exact shots. I'm a veteran of 35 years in this industry, and I’m 60 years old, but I’m 6’ 2”, 200 lbs, and I still do intense physical fitness work outs at least five days a week. I do those for fitness and lifestyle sake, but also very importantly to continue to be able to get the difficult mobile shots required by the projects I produce and do contract shooting for.
Convergence of shooting styles
With cameras like RED, there is a synthesis of shooting styles possible, and in fact being used in the real world. RED's technology is closely related to DSLR, moderately related to TV/video, and least related to film. Users of RED are now converging from all three of those backgrounds, and some people like me come from all three. With the technology being convergent, and the mix of people using RED being convergent, its no surprise that especially in non-union, mid to small crew productions, shooters with RED are free to push the camera and how they use it to modified paradigms. General categories of shooting style with RED may be traditional cine style, hybrid cine/EFP style, and EFP style. Traditional cine style will generally be using cine lenses, MB, FF, ACs, measuring tapes, hand held meters, etc. Hybrid cine/EFP style may be using various lens types (cine, 35mm still, B4), may or may not be using MB/FF/ACs, and may be using in-camera electronic aids for focus and exposure. EFP style will generally be using EFP lenses (but may also use cine, 35mm still), almost never a MB/FF/ACs. All these approaches to using RED ONE are valid, as are varying flavors and modifications between the general categories I listed. Whatever style most effectively achieves the images, and is also cost-effective (producer in me speaking now), is perfectly valid with RED.
Focusing with RED
Fact: the vast majority of productions worldwide each year are either Hybrid cine/EFP style or EFP style. Almost all of those productions are shot by sight focusers working either alone, or in medium to small non-union crews. I see some confusion on this thread about sight focusing. There are two types of focusing that fit that term: 1) An AC/focus puller, or single shooter visually estimating distance to the subject and focusing according to that estimate 2) A shooter or single operator using their eyesight to use electronic aids (EVF, LCD, or other monitor) and the focus aids (2x magnification, focus assist) in an electronic camera (like RED) to sight focus. Some shooters routine use both methods of sight focusing. I am mostly a sight focuser, who works in medium to small crews, doing high profile international and national work. In six months of heavy use of my RED cameras, I’ve found RED’s in-camera focus tools to be accurate and very quick and easy to use – even for very shallow DOF critical focus. Professional sight focusing with RED ONE is a reality folks. That’s not to cast doubt on others choice to go a more traditional way, with measuring tapes/lens scales/ACs, etc. If it fits their workflow and crew requirements, fine.
Last thoughts
RED ONE is inherently an “open mind” camera. Its scalable, flexible, and adaptable. Those who want to maximize RED ONE’s potential, and in the process unlock their own potential (and bank account) should consider all the potential ways to shoot with RED ONE and then go out and push the performance envelope. At 60 years old, you’d expect me to be set in my ways and limited down to a few ways to shoot. I’m not! I’m open minded, flexible, and adaptable – just like RED ONE.
We’re all part of the overall motion media production family. I respect everyone’s choices, although I may not agree with them. I know what works for what I produce, and me and my crews simply go out and have fun doing it – but we constantly refine our styles and equipment.
Yes, physical conditioning is critical for getting certain types of mobile hybrid cine/EFP style shots. An in-shape shooter can place cameras quickly and easily in and out of situations that an out of shape shooter simply can’t. Physical coordination, an eye for the shot, mastery of available technology, mastery of optics, and experience are the other elements which, when combined with physical conditioning enable getting those types of very challenging, mobile, small crew or single operator shots. When it all works, its like tai chi or martial arts with a camera. One of my skill specialties through my career has been getting those exact shots. I'm a veteran of 35 years in this industry, and I’m 60 years old, but I’m 6’ 2”, 200 lbs, and I still do intense physical fitness work outs at least five days a week. I do those for fitness and lifestyle sake, but also very importantly to continue to be able to get the difficult mobile shots required by the projects I produce and do contract shooting for.
Convergence of shooting styles
With cameras like RED, there is a synthesis of shooting styles possible, and in fact being used in the real world. RED's technology is closely related to DSLR, moderately related to TV/video, and least related to film. Users of RED are now converging from all three of those backgrounds, and some people like me come from all three. With the technology being convergent, and the mix of people using RED being convergent, its no surprise that especially in non-union, mid to small crew productions, shooters with RED are free to push the camera and how they use it to modified paradigms. General categories of shooting style with RED may be traditional cine style, hybrid cine/EFP style, and EFP style. Traditional cine style will generally be using cine lenses, MB, FF, ACs, measuring tapes, hand held meters, etc. Hybrid cine/EFP style may be using various lens types (cine, 35mm still, B4), may or may not be using MB/FF/ACs, and may be using in-camera electronic aids for focus and exposure. EFP style will generally be using EFP lenses (but may also use cine, 35mm still), almost never a MB/FF/ACs. All these approaches to using RED ONE are valid, as are varying flavors and modifications between the general categories I listed. Whatever style most effectively achieves the images, and is also cost-effective (producer in me speaking now), is perfectly valid with RED.
Focusing with RED
Fact: the vast majority of productions worldwide each year are either Hybrid cine/EFP style or EFP style. Almost all of those productions are shot by sight focusers working either alone, or in medium to small non-union crews. I see some confusion on this thread about sight focusing. There are two types of focusing that fit that term: 1) An AC/focus puller, or single shooter visually estimating distance to the subject and focusing according to that estimate 2) A shooter or single operator using their eyesight to use electronic aids (EVF, LCD, or other monitor) and the focus aids (2x magnification, focus assist) in an electronic camera (like RED) to sight focus. Some shooters routine use both methods of sight focusing. I am mostly a sight focuser, who works in medium to small crews, doing high profile international and national work. In six months of heavy use of my RED cameras, I’ve found RED’s in-camera focus tools to be accurate and very quick and easy to use – even for very shallow DOF critical focus. Professional sight focusing with RED ONE is a reality folks. That’s not to cast doubt on others choice to go a more traditional way, with measuring tapes/lens scales/ACs, etc. If it fits their workflow and crew requirements, fine.
Last thoughts
RED ONE is inherently an “open mind” camera. Its scalable, flexible, and adaptable. Those who want to maximize RED ONE’s potential, and in the process unlock their own potential (and bank account) should consider all the potential ways to shoot with RED ONE and then go out and push the performance envelope. At 60 years old, you’d expect me to be set in my ways and limited down to a few ways to shoot. I’m not! I’m open minded, flexible, and adaptable – just like RED ONE.
We’re all part of the overall motion media production family. I respect everyone’s choices, although I may not agree with them. I know what works for what I produce, and me and my crews simply go out and have fun doing it – but we constantly refine our styles and equipment.
