- Banned
- #1
radiant
Banned
- Joined
- Sep 7, 2007
- Messages
- 160
- Reaction score
- 0
- Points
- 0
- Age
- 57
- Location
- Los Angeles, CA
- Website
- www.hdcamerarentals.com
We are currently shooting a feature film in Shreveport Louisiana with
Peter Hyams the Director/DP of such films as:
2010, End Of Days, The Musketeer and The Presidio just to name a few.
(Click link for IMBD) and starring Michael Douglas, Amber Tamblyn & Jesse Metcalfe.
We're shooting in 4K with final output of 4K film scan. The workflow, along with the immediate response of what you see is what you get (to a certain degree),
makes the process of filmmaking more responsive and for most cases faster.
It's like having your negatives developed on set and then having them instantly available to you. There is no more guess work involved.
We were very fortunate to have had full support of Apple and Red in order to help us create a very efficient workflow.
The Red responds really well under low light. We're shooting most of our scenes with available light/ practical light.
The amount of details in the highlights and shadows is unlike what any high definition camera could ever capture.
We are doing a lot of in-camera color adjustment due to the fact that Quicktime proxy files create a flat pass and create more of a washed out low contrast image.
Since this can affect the look of your dailies, it was unacceptable for Peter. Therefore, in-camera color adjustments were necessary.
The other solution would have been to use Red Alert or Red Cine to set your contrast and your gamma curves, but this process is time-consuming when producing dailies on set.
As far as image quality and the organic feel, it's not even close to film. It's still digital, but offers another available tool for the appropriate project or vision.
We are putting the Red through a full test with all available accessories.
The camera has responded so well, even prompting Michael Douglas to inquire on the Red's capabilities while on set.
We are currently shooting with the following:
6 x Reds,
2 x EVF's
6 x Arri 19mm Base Plate Sliding Dove Tail & Full Cinema Support
6 x Hot-Swap Battery Supply for RED Cameras (non-stop shooting)
1 x Set of Arri Master Primes: 14, 18, 21, 35, 50, 75 & 100mm T1.3 (best lenses I have ever seen)
1 x Arri Ultra Prime 180mm T2.0
1 x Arri Prime 100mm T2.0
1 x Arri Prime 135mm T2.0
1 x Cooke 18-100 Mark II T3.0
1 x Cooke 25-250 Mark II T4.0
2 x Steadicams
1 x Super Techno Crane
2 x ArriHead 2 Geared Head
9 x Panasonic 8.4" HD LCD Monitors with Waveform
7 x Panasonic 17" HD LCD Monitors with Waveform
1 x Panasonic 26" HD LCD Monitor with waveform
5 x Preston Full Fiz Wireless Follow Focus Systems
1 x Viewfactor Prototype Remote VTR Start and Stop
6 x MB20 4 x5 Mattebox
2 x MB14 6x6 Mattebox
2 x LMB5 4x5 Clamp-on Mattebox
6 x FF5 Follow Focus
4 x Cine Tapes
6 x Ambient Clockit Boxes
1 x HyperDrive (This is the world's Fastest Memory Card Backup system)
Along with everything else needed to support a feature film of this magnitude.
This new digital technology is simply phenomenal and will change cinema.
Thank You
Michael Mansouri
Radiant Images, Inc.
hd camera rentals.com
Peter Hyams the Director/DP of such films as:
2010, End Of Days, The Musketeer and The Presidio just to name a few.
(Click link for IMBD) and starring Michael Douglas, Amber Tamblyn & Jesse Metcalfe.
We're shooting in 4K with final output of 4K film scan. The workflow, along with the immediate response of what you see is what you get (to a certain degree),
makes the process of filmmaking more responsive and for most cases faster.
It's like having your negatives developed on set and then having them instantly available to you. There is no more guess work involved.
We were very fortunate to have had full support of Apple and Red in order to help us create a very efficient workflow.
The Red responds really well under low light. We're shooting most of our scenes with available light/ practical light.
The amount of details in the highlights and shadows is unlike what any high definition camera could ever capture.
We are doing a lot of in-camera color adjustment due to the fact that Quicktime proxy files create a flat pass and create more of a washed out low contrast image.
Since this can affect the look of your dailies, it was unacceptable for Peter. Therefore, in-camera color adjustments were necessary.
The other solution would have been to use Red Alert or Red Cine to set your contrast and your gamma curves, but this process is time-consuming when producing dailies on set.
As far as image quality and the organic feel, it's not even close to film. It's still digital, but offers another available tool for the appropriate project or vision.
We are putting the Red through a full test with all available accessories.
The camera has responded so well, even prompting Michael Douglas to inquire on the Red's capabilities while on set.
We are currently shooting with the following:
6 x Reds,
2 x EVF's
6 x Arri 19mm Base Plate Sliding Dove Tail & Full Cinema Support
6 x Hot-Swap Battery Supply for RED Cameras (non-stop shooting)
1 x Set of Arri Master Primes: 14, 18, 21, 35, 50, 75 & 100mm T1.3 (best lenses I have ever seen)
1 x Arri Ultra Prime 180mm T2.0
1 x Arri Prime 100mm T2.0
1 x Arri Prime 135mm T2.0
1 x Cooke 18-100 Mark II T3.0
1 x Cooke 25-250 Mark II T4.0
2 x Steadicams
1 x Super Techno Crane
2 x ArriHead 2 Geared Head
9 x Panasonic 8.4" HD LCD Monitors with Waveform
7 x Panasonic 17" HD LCD Monitors with Waveform
1 x Panasonic 26" HD LCD Monitor with waveform
5 x Preston Full Fiz Wireless Follow Focus Systems
1 x Viewfactor Prototype Remote VTR Start and Stop
6 x MB20 4 x5 Mattebox
2 x MB14 6x6 Mattebox
2 x LMB5 4x5 Clamp-on Mattebox
6 x FF5 Follow Focus
4 x Cine Tapes
6 x Ambient Clockit Boxes
1 x HyperDrive (This is the world's Fastest Memory Card Backup system)
Along with everything else needed to support a feature film of this magnitude.
This new digital technology is simply phenomenal and will change cinema.
Thank You
Michael Mansouri
Radiant Images, Inc.
hd camera rentals.com
