Scott Mason
Well-known member
- Joined
- Dec 10, 2007
- Messages
- 189
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- Points
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- Age
- 54
We just finished a commercial shoot that the company used 16mm film last time and went with the red this time. The director likes these tilt shift lenses that throw everything out of focus but a thin plane in the shot. You can make it horizontal or vertical or any variant in between by turning the lens.
So whenever they did it on 16mm they could not use the 24mm wide angle because it did not really have any visible effect because the 16mm size was too small. Well since red has a 35mm sensor and a pl mount we used the 24, 45, and 90 and all of them worked very well. We shot way too much since it was not film or tape and we roughly estimated the film costs at about 20k since we ended up with an hour and a half. I do not know the actual costs but we used an old production budget for 35mm and that's what we came up with. That was for stock and develop and telecine (now telecine would be longer than 1.5 hours since they would have to sync the film with the audio)
Now there are some costs involved in processing the red footage, but with hardrives and transcode times we are only putting a dent in the 35mm hard costs.
So, just another reason to use the redone camera. Thank you Jim and Red team for the most wonderful toy, uh um, I mean tool.
P.S. I won't have any time for a while to post any stills from the spot, a few of the people involved read red user and may, but we are going into 12 straight days of production and I will only be reading this forum and not able to post, sorry. I'm sure there are people who have footage with these lenses, they are fun to work with and just another tool
So whenever they did it on 16mm they could not use the 24mm wide angle because it did not really have any visible effect because the 16mm size was too small. Well since red has a 35mm sensor and a pl mount we used the 24, 45, and 90 and all of them worked very well. We shot way too much since it was not film or tape and we roughly estimated the film costs at about 20k since we ended up with an hour and a half. I do not know the actual costs but we used an old production budget for 35mm and that's what we came up with. That was for stock and develop and telecine (now telecine would be longer than 1.5 hours since they would have to sync the film with the audio)
Now there are some costs involved in processing the red footage, but with hardrives and transcode times we are only putting a dent in the 35mm hard costs.
So, just another reason to use the redone camera. Thank you Jim and Red team for the most wonderful toy, uh um, I mean tool.
P.S. I won't have any time for a while to post any stills from the spot, a few of the people involved read red user and may, but we are going into 12 straight days of production and I will only be reading this forum and not able to post, sorry. I'm sure there are people who have footage with these lenses, they are fun to work with and just another tool
