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Red One: Nikons, zooms, red prime?

O

omar robles

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Hello:

I am close to beginning my project. And I have a dilemma in choosing a dp. And its come down to one factor between the three dps, (all who shoot red one). One shoots with nikon primes, the other a red zoom. And lastly the third one red primes. Obviously the one with red primes has a higher rate then the other two. The one who shoots with the nikon lenses appeals to me, because he is more willing to shoot guerilla. The one who shoots with the zoom has a lower rate of the three. However I suspect he is a closet director who will clash with me during filming.

So my question is, how dramatically different is image quality between using those three types of lenses? I realize with primes you are getting a sharper image. However since i intend to grade the finished product to have a 70's look. And will be degrading the image somewhat in post. I figure the lesser lense quality would help me in terms of getting the look i desire.

Can any of you experts shed some light in my dilemma?

thanks for the time

O
 
In my opinion the DP is a story teller with images so it should really be the one you gel with best. The Zoom option is probably better for run and gun cos you won't have to worry about lens changes etc. and depending on which zoom it is could lend itself to your degraded look. But you worry about personality clashes.

You can always degrade images but not always upgrade them so going for one of the other fellas isn't too much of a problem in that respect.

I think personality and vision go a lot further than technology and gear.
 
Thomas is right, go with the one you have the best feeling with. Take your time, they should know it's about getting to know each other... It's like a casting, spend some time with them, have coffee and talk about the film... Maybe you could shoot a couple of hours of rehearsals with them and a couple of actors and see who you click the most with...

PS: the lenses are not an issue in my opinion, they are all great lenses.
 
Thanks everyone. Very insightful suggestions.
 
It's not the glass, it's what you can do with the glass.
Any prior work from the DPs impress you?
 
I'd really forget about the tech stuff... If he's a good DP, he'll manage his part of the job, whether there is a lot of focus pulling shouldn't be part of the equation and certainly isn't your business as you will focus on, well directing, hopefully!

The complicity and shared artistic vision is the key aspect of the collaboration between a director and a DP. Spending time with them, "testing" them will make you see who you're most comfortable with.

If the guy is in a mood where he's "doing you a big favor" with his gear, you'll resent that over time and it will kill your inspiration with stress. Choose the one that is really devoted to your project and that will give it 150% of his time, talent and energy. Anyone else will just be there for wrong reasons and put you in a challenging spot.

You have to be supported, not stressed. He's in charge of the image, you're in charge of the story and actors.

- The "closet director" might be an issue. From my experience with such individuals, these guys are terrible on other people's films unless they're really close friends and really want to contribute with modesty and know how to keep their place.

The lenses is soooooooo not part of the equation here! Forget that!

For the record, Red zooms are fantastic, Primes are primes so yeah, they're really nice, and the Nikons are super sharp and crisp too... So don't sweat it, pick the guy, not the lens!

A feature is one tough adventure, trust me, I have been on more indie unpaid gigs than I can remember, and you want the right people, not the right lens (especially when you have to choose among those, it's "rich people" problems here... They're all great!)

Good luck!
 
Omar, there is a lot of wisdom in the replies you have gotten already. Let me add that it is the DP's job to help you take the vision you have for your story and put it on the screen. All you need to do is decide which one of the three can best interpret that vision.
 
Do not fear the Nikon glass. . . it looks sensational on the RED. Our first film could hard look better. . . and almost all of it was shot on Nikon glass. What wasn't was shot on Canon glass.

But the advice to go with the one you have the best collaborative feel with is truly the best advice anyone could offer you.

Stephen
 
My nikons look amazing on the red, yes pulling focus can be tricky but definately not the end of the world.

I' with everyone else, pick the best personality and the person you like the best and think you will have best collaboration with.
 
Interesting question.

An experienced operating DP should be able to accommodate your request for particular kit unless he/she is concerned that he wont be able to operate it (say steadycam or very long lenses).

Have you restricted your casting net to those who own kit?
If so I would assume that it is because owner operators are usually a cheaper option than choosing a DP first and renting equipment second?

At this point remind yourself, am I choosing a DP who can deliver what I want, if not reconsider how you are spending the budget and if a non owner operator is a better option.


all the best


Mickjoebill
 
Yes it is Lewis. While my options are limited. I do feel strongly one of the three will do a good job. I have enjoyed all their reels.
 
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