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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 :)

Digital Revolution

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Hej

i like the digital revolution, i like the concept of RED. i love it.
it is so easy to make a film in 35mm style, when you are a student. and i am. You can do many things. You don't really need a laboratory. You do it at home.

But, today is nothing better than film. Realy!
Look what we have done with film. This was a test for a new documentary film. Low light situation.
We tested the red one, and Kodak vison 3 500T with 16mm and 35mm film with high-speed optics 1.3T.
The film was pushed 2T-stops up so we had 2000 asa. Arri Munich degrained it for us with a new Canadian software.
Look at the pics:

1. 16mm push at 2000 asa degrain
2. 35mm push at 2000 asa degrain
3. red test 2k at 2000 asa


The red one had a 360 degrees open shutter. 2K and 4K.
At this time I can not share the red pics. But i’ll try to get one from this test.

And my question is: do we need 9K or 6K or 28K? No projektor no computer no display can show.
can RED sell that cool stuff at a low price to a over hand on the market? Film is existing over 100 years now. Good/bad? pro/contra? tell me!
I think we need a practical camera with an optical viewfinder like the D20 is. A robust camera. What do you think?

What you have to know about me is, i want to get a red too! I only want to discuss things
thx for reading

sebastian
 
We had this optical viewfinder vs. digital viewfinder discussion a myriad times. Red (or better, Jim Jannard) stated that it`s simply too expensive. And I second that. The Scarlet S35, for example, will be 7000$ - and an optical VF will raise that price by at least 3000-5000$, that`s way too much for most of those people who will buy them.
 
I shot a short film at the end of December on my RED. My friend shot a short at the same time on 35mm. My short is already edited with sound mix, and will be screening at South by Southwest next month. Because she got a student discount, she didn't even get to see her footage until the end of January.

Shoot film if you like it. I'm never going back.
 
Julio Quintana said:
I shot a short film at the end of December on my RED. My friend shot a short at the same time on 35mm. My short is already edited with sound mix, and will be screening at South by Southwest next month. Because she got a student discount, she didn't even get to see her footage until the end of January.

Shoot film if you like it. I'm never going back.
Click to expand...

Unfortunately the "Art of Editing" and all those assistant (think apprentice) editor positions have given way to compressed delivery schedules.

I would prefer to argue for all the improvements that I can get done vs. a DI/film workflow rather than arguing for a faster ROI for the stakeholders.

For Students I always say shoot Video/P2/Red to learn motion, pacing, and editing, but shoot film stills to learn lenses and how to expose Fuji stock.

Better yet get a job in the industry washing lenses and have someone else pay while you learn.

Rosco
 
1) There should/could also be a before/after for the red footage, as there are some very impressive noise reduction tools that appear to be working very well for folks shooting RED - similar to the tool they used on your celluloid

2) Clearly, low light performance is one of RED's weak spots. The reason I type 1 above, is my own quest for the best tools to reduce noise in low light outdoor natural light shots with RED. But David Mullen has stated on this forum that its clearly one of the weak spots.

There was a recent posty on this forum with a pretty impressive ne-noising tool/service, and much has been discussed. It can be done well. As well as 35mm net net? Probably not.
 
Have a look at this thread over at Reduser Germany – pretty impressive:

http://www.reduser.de/viewtopic.php?f=2&t=190

Yes, low-light is the weak spot of the RED One, but an Arri D20 is not better in that respect – we have tested them side-by-side (a Sony F35 is, but has other disadvantages).

I'm sure that RED will not only increase the number of pixels. The next generation of sensors should be at least one stop better, maybe more.
 
the most funny is your first subject chosen for such comparison.. :)
 
hunterrichards said:
De-graining film always feels wrong to me... did you ask the film if you could de-grain it before you stripped it?

Im sure CCD and CMOS were there laughing at the poor naked film, all without its grain on.
Click to expand...


yes for me to but you can also degrain it until 50 asa. so you have still the magic of film!
 
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