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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 :)

Albert Hughes...

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Gooooo Red. I'm fired up I tell ya!!!! Come Scarlet, Come!!!!!!!!!!!!
 
Congrats!

Congrats!

Congratulations to the RED team and all RED owners!

It's great to see other people realize what we've already realized - RED creates amazing footage.

This is great timing, because yesterday I got a little annoyed after watching this test - http://www.vimeo.com/2437826 - where the RED footage was the only one that was soft. It just didn't do it justice.

So great news guys!

All the best to the RED community!
 
Very good news that it gets more and more recognised.

Honestly, i'm not really surprised, that camera is incredible once you really know how it works.

Every single time i use it i smile.

Congrats.

Antoine
 
Only thing missing from the quote is that they mentioned a camera (Arri 435) but not the stock, which is really the analogue equivalent of the sensor. I'm curious to know more about that side, eg. was it a DI stock, Vision 3, etc?

Of course, I'm preaching to the converted here, but it would be nice to hold up a quantifiable example saying that Red was chosen over a particular stock due to being more film-like! :)

Cheers for the info Jim and congrats yet again!

Paul
 
I actually just assisted on a major video for a major glam artist, we shot Red and the DP, utilized behind the lens netting as well, very interesting beautiful results.
 
Nice work... I too made a filmout of our R1 in Argentina. Available light, night exterior, actor spying near a shop window, all worse case scenario and believe it or not wonderful results. I am so happy with this camera.
 
Sanjin Jukic said:
Congrats Jim.

Allen Hughes and Don Burgess should tell us about their workflow and "secrets" with RED1 as soon as they can.
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once upon a time there was Claudio Miranda which wanted to share his "secrets" about Red and other cameras shootout for The Curious Case of Benjamin Button and I was quite amazed, but somehow it didn't went well and after some not so nice reactions from some Red fans he decided to quit with all that ... :umm:
 
Michael Morlan said:
A first for digital acquisition (without the common skin-tone detection algorithms engaged to counter artificial sharpening.) Congratulations on the kudos.

I guess that slightly soft OLPF is paying off now. :)

Michael
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yeees DITTO
 
Congratulations!!

Well deserved recognition for an amazing camera system from the company that can !

Dave
 
Petr Dvorak said:
once upon a time there was Fred Miranda which wanted to share his "secrets" about Red and other cameras shootout for The Curious Case of Benjamin Button and I was quite amazed, but somehow it didn't went well and after some not so nice reactions from some Red fans he decided to quit with all that ... :umm:
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I think you mean Claudio Miranda.
 
Paul Leeming said:
Only thing missing from the quote is that they mentioned a camera (Arri 435) but not the stock, which is really the analogue equivalent of the sensor. I'm curious to know more about that side, eg. was it a DI stock, Vision 3, etc?

Of course, I'm preaching to the converted here, but it would be nice to hold up a quantifiable example saying that Red was chosen over a particular stock due to being more film-like! :)

Cheers for the info Jim and congrats yet again!

Paul
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I am assuming that they put it up against the stock(s) they thought would be appropriate for the movie and that they thought would beat Red, but found out they just preferred the look of Red, at least for this film and the aesthetics they were going after. I am happy they came to this conclusion. It certainly continues to legitimize Red as a choice for top notch cinematographers.
 
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