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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 "not perfected" in daylight

Geez. . . and to think that I sold my HVX/Brevis set-up to buy our first RED. What a fool I was! I could have saved $20,000 and just shot my film on the HVX.

Stephen
 
Maybe when he worked on jumper and we were using build 12 he was having some bad times with the camera? That is the double edged sword that has been created people that had a first look at the camera sometimes were not impressed because of a beta build or a workflow issue but as of build 16 the camera is a workhorse on set and has many options in post that dont involve a crystal ball or witch craft to make work. Im currently working on two films that have the biggest names in holllywood directing and acting and the red camera has not failed us in the day light yet.
 
"... that can't make it in the real world" is an old business school joke... probably ill applied here without a smiley. :-)

I stand on the nonsense part.

Jim
 
Ryan Patch said:
Now, we all know by now that's not true on many levels (resolution, color depth, depth of field, etc). The "not perfected" quote, however, came from Michael Carmine, the most legit cinematography Prof. at my school (NYU, see http://filmtv.tisch.nyu.edu/object/CarmineM.html.
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Ryan - I was a guest teacher last night in Scott Bankert's electronic cinematography class at NYU - I lectured for three hours on shooting with the RED - I'd be more than happy to come guest in Michael's class - now that NYU got their first RED - for the LOVE OF GOD - let's try to kill all the INCORRECT information from passing around - WAY TOO MANY PEOPLE make comments about the RED that have never even shot with it, or taken the time to understand what it is.
 
Derf The Viking said:
Maybe when he worked on jumper and we were using build 12 he was having some bad times with the camera?
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The only people involved in shooting 2nd unit RED for Jumper beside myself were 1) Doug Liman 2) Avrum Ludvig 3) my business partner Aldey Sanchez and on one shoot in Michigan - we had an AC with us. And we were on an alpha build of 6 at the time.

And for the record - the DP on Jumper was Barry Peterson
 
Exactly. The Red performs very well in Daylight.

Ask Micheal Cioni, Almost everything we shot for Twenty Six Miles was exteriors. 6 1-hour episodes.
 
I ve just sold my HVX200 to replace with RED. (Even i used it with HVX M2 Redrock).
HVX is a good HD VIDEO camera and produces HD video that is all. Nothing more nothing less. Nobody can compare the images between HVX and RED. Even my brother -he does not have any idea about cameras- He says 'film' whenever he see shoots from RED.
It think this teacher's thoughts are more political rather than reality..
 
Mark-

Hah, yeah, I heard that you were in there. I'm personal friends with Scott Bankert and have several friends in that class. I'll probably be in that class next week telling them about my RED rig that I have for student productions (the NYU rig is only available for grad right now, I'm trying to make the RED accessible for many, many more productions).

Anyway, I'll let Michael know.

Ryan
 
And, for the record, guys, the producer and professor were not comparing the HVX to the RED, saying that the HVX is better than the RED in daylight- they were simply saying that, because this production was all exterior, the advantages of the RED (they admitted they still were some) didn't make sense in the price comparison.

No one is saying the HVX is better than the RED, they were just saying that, because the RED "isn't perfected" in daylight, it's not the idea camera to shoot with outside.

Which, before I get jumped on, I know is false.
 
Jannard said:
We would be very happy to do a side by side at the RED HQ if he will fly here.

If he is right we will pay his airfare. If he is dead wrong, he needs to buy a camera (or at least put down a non-refundable deposit). :-)


Jim
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Red Ranch's location isn't coincidental, is it? :)
 
We did a 35mm Film out test to specifically address this issue. It was done on build 15. PM me if you want to see it. The DP that shot the test is very well versed with the HVX. In fact, he'd shot two low-budget features with the HVX. The other projects he's DP'd were all 35mm film. He prefers the Red indoors and out. We have loads of outdoor footage that we've shot, from build 15 on.

We worked with IOFilm in Hollywood on this particular test and the results were beautiful. I've seen footage shot outdoors on the HVX and to me, there is no contest. But don't take my word for it, see for yourself. Make up your own mind.

And sure, the HVX has some advantages over the RED. It's lighter, it can be hand-held more easily. It can fit in a cramped space better. But I don't think it compares on image at all. Just my opinion.
 
Maybe they were just saying that because it's all exterior, the HVX will be performing at its peak. I have handicam mini DV footage that rivals Digi Betacam footage because it's shot outdoors.

Neither can touch RED mind you, but perhaps they were saying they could "get away with" HVX since it wouldn't be challenged...

Either way it's silly. If you have the option to shoot RED you should!
 
My guess is that this person is misinformed and may be comparing HVX footage to ungraded RED footage.

My money's with Jim. And with RED's sensor being daylight native, they sure are gonna have a blast with this "side-by-side" test.

Even to have RED in the same sentence with HVX is almost ridiculous.
 
Let me add one more point: The RED is a professional camera. The quality of the imagery coming out is a direct result of the expertise of the DP going in. The RED in the hands of a master DP produces imagery that is every bit film's equal. Can a novice shoot RED effectively? Yes, with some basic instruction.

But the RED is a professional tool. If you hear stories about the RED coming up short, consider the source of the info. A master DP can make RED's images look however they want. We've given several DP's a test drive of the RED and we have not had anyone say they don't like it. But nearly all of them were skeptical before seeing it. I love the look on their faces after they've shot and posted their first CF card's footage. You can see the wheels turning in their heads. Yep, another convert.

Then we get the inevitable question: "Who is behind this camera? How did they do this?" I just tell them about Jim, Ted, Jarred and Graeme and the rest of the team. I tell them about Oakley, and what I know about the defense contracts, the different firmware builds and that pretty much does it. We get a new member of the RED club itching to shoot a project on the camera.
 
"... that can't make it in the real world" is an old business school joke... probably ill applied here without a smiley. :-)
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The way I heard it is "those that can, do, those that can't, teach" but that is not always fair.
I went back to grad school in the 90's to learn animation. Two of my professors, Neil Owen and Jeff Morris, went on to start n-tara http://www.ntara.com/ . They never looked back.

Im sure Mike is an intelligent instructor, but even the best can make mistakes.
We will get past some of these ill-advised statements and Red will continue to thrive.
 
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