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Movicam and Film Stock FS.

Robert Horwell

Robert Horwell

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Hi,

Your ebay listing says:

"YOU CAN NOT BEAT SHOOTING ON FILM. I ALSO OWN A RED CAMERA AND FILM
BEATS IT HANDS DOWN EVERY TIME."

Could you perhaps post a couple of clips or even still frames of the same scene shot with your Red and on 35mm film with this camera? If not same scene, similar scenes?

-michael zaletel
(shooter)
 
It's just my personal opinion, it's not meant to be a comparison debate. RED is great but it has a way to go yet before it beats film, sorry. I own and shoot both formats. I realise it could stir up a pot but the remarks are meant entirely to help someone make a decision as to weather or not they should purchase the camera. I won't get into workflow economics, but i think that film is sometimes seen as a dirty word, i simply think if i cold afford it i would shoot film every time, this is a very affordable package for someone looking to shoot a feature. I could not give side by side comparisons of this footage anyway we did not have a RED on the job. We do not a have DI, so i could not supply a 2k/4K still.

I love my RED, i have invested enough money in it and will be buying the epic-x, but film is still king for me. Thanks.
 
Scraps, please?

Scraps, please?

Bob.H said:
I could not give side by side comparisons of this footage anyway we did not have a RED on the job. We do not a have DI, so i could not supply a 2k/4K still.
Click to expand...

If you have any scraps from the edit I can scan them and post what I get, our scanner is better than most 35mm camera lenses, you can see a sample scan I did from Super16 scraps here,

http://reduser.net/forum/showthread.php?t=28486&page=5

http://reduser.net/forum/showthread.php?p=402805#post402805

I'd like some "professionally" shot 35mm scraps, the Kodak LAD scrap I have is out of focus... BTW you can do a DI with my "freeish" software if you want to help test it sometime... it works with RED and Film as well as anything else at "any" resolution...
 
Thanks Dan looks good.

I just can't do that at the moment ( provide scraps ) i may have some S16 in the future i can send you. It will be Vision 2 though.

I prefer the way film falls off as well. Aesthetics.

As i say i DO LOVE WORKING WITH RED!! this is not an assassination.

I still shoot 16mm, and to be really honest would still rather shoot 16mm than RED, it's not just the format it's the whole process, i just find it more pleasing to do, dare i say it, it feels like proper film making. OK i am bracing myself, waiting for the lightning to strike me down.:head_explode:
 
RE: Scraps, RED vs. Film

RE: Scraps, RED vs. Film

Bob.H said:
i may have some S16 in the future i can send you. It will be Vision 2 though.
Click to expand...

Thanks for the offer, some more Super16 samples would be nice, it helps me with development of the grading to see how different negative stocks work in my grading, scanning using both single shot and tri-color seperations.

You can see a side by side of 35mm "6K" master positive scan done on an ARRI scanner and RED "4K" in another of my posts, "Yojimbo vs. RED ONE..." 09-03-2008, 05:23 PM,

http://www.reduser.net/forum/showthread.php?t=18391&page=4

You need to be logged in to see the thumnails in those posts, and to click on the thumbnails to see the images (and crops) at 1K size...

==

I think if you use three RED ONE with beam splitters and color seperation filters, and underexpose a little more than normal, you can get closer to the "film" look. Also when I grade RED ONE footage in my DI system I can get closer to a film like look using the gamma, curves, and chroma matrix to simulate the color masks in color negative and master positve/dupe negative stocks.

If you have any RED ONE frames you would like me to grade to see, you can give me a link to a RED-Log TIF, made in REDCINE with all the color controls set to neutral.

For me the best thing about Digital is no dust, gate hairs and hair checks after each shot with retakes, and negative scratches from the camera and mags, as well as no processing issues like unevenness, water spots, junk, dust, more scratches, fingerprints, emultion dust from the splicer. Since TCE is not legal any longer it is a real big issue on how to get film clean enough to scan.
 
Dan Hudgins said:
Thanks for the offer, some more Super16 samples would be nice, it helps me with development of the grading to see how different negative stocks work in my grading, scanning using both single shot and tri-color seperations.

You can see a side by side of 35mm "6K" master positive scan done on an ARRI scanner and RED "4K" in another of my posts, "Yojimbo vs. RED ONE..." 09-03-2008, 05:23 PM,

http://www.reduser.net/forum/showthread.php?t=18391&page=4

You need to be logged in to see the thumnails in those posts, and to click on the thumbnails to see the images (and crops) at 1K size...

==

I think if you use three RED ONE with beam splitters and color seperation filters, and underexpose a little more than normal, you can get closer to the "film" look. Also when I grade RED ONE footage in my DI system I can get closer to a film like look using the gamma, curves, and chroma matrix to simulate the color masks in color negative and master positve/dupe negative stocks.

If you have any RED ONE frames you would like me to grade to see, you can give me a link to a RED-Log TIF, made in REDCINE with all the color controls set to neutral.

For me the best thing about Digital is no dust, gate hairs and hair checks after each shot with retakes, and negative scratches from the camera and mags, as well as no processing issues like unevenness, water spots, junk, dust, more scratches, fingerprints, emultion dust from the splicer. Since TCE is not legal any longer it is a real big issue on how to get film clean enough to scan.
Click to expand...

Yes, scratches, blemishes,dust etc, a real pain but it's less often than it used to be, much less. It's a long time since i had a hair in my Aaton gate.

I think also format preference is something to do with personality type. For
instance i would much rather go out for a blast on my old Triumph Bonneville than my new Honda CB1300, i just prefer it, some people wouldn't i know. But i enjoy the fact that my bonnie has a very slight oil leak that i can never seem to get rid of, that i have to tickle the carbs before i kick start her, the very fact that i have to get physically involved with the bike before she will even agree to start, it's like she tells me i have to earn the journey. Where as with my Honda, i jump on, push the start button, that's it.

Also when my Bonnie goes wrong, i can fix her, she is a pretty basic machine but engineered well, and with a decent set of spanners/tools and a little skill she'll be back on the road before the end of the day.

The Honda, it has a computer inside it, electronically fuel injected, when it goes wrong, i'm knackered, it has to go back to the shop.

Maybe this is a better analogy of how i feel about the film - digital subject.
 
wow.

that is an incredible offer.

I wish I had a feature film with some budget in preproduction, I'd immediately snatch that offer up and shoot it with that.

Great offer, hope it lasts until the said feature comes ;)
 
Great minds think alike. I'm in the same boat as you Bob!!!

Bob.H said:
Thanks Dan looks good.

I just can't do that at the moment ( provide scraps ) i may have some S16 in the future i can send you. It will be Vision 2 though.

I prefer the way film falls off as well. Aesthetics.

As i say i DO LOVE WORKING WITH RED!! this is not an assassination.

I still shoot 16mm, and to be really honest would still rather shoot 16mm than RED, it's not just the format it's the whole process, i just find it more pleasing to do, dare i say it, it feels like proper film making. OK i am bracing myself, waiting for the lightning to strike me down.:head_explode:
Click to expand...
 
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