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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 :)

1st RED movie...

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#1 is for the museum. #2 is mine to shoot. #3-5 is whatever I feel like using them for. :-)

Jim
 
Now none of the major studios will have a better camera than independent filmmakers!

So this is comming out in 2008? What if somebody else shoots a movie with the RED ONE and finishes before then?
 
Jannard said:
"Though the body of the movie will be shot in film, there is a substantial digital component to the filming which will be used by Bekmambetov's VFX and production company in Russia. Wanted begins shooting in Prague in April, 2007."
Jim
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Will the RED footage be used to do seamless cuts between it and the film shot footage? Or is the RED footage intended to have a different look from the bulk of the film for some kind of effect?

For me this is a big thing because it is one thing for RED to be able to produce beautiful images. It is a completely larger leap ahead and will really make people take huge notice if it can be cut with film and be indistinguishable.
 
Finner said:
Will the RED footage be used to do seamless cuts between it and the film shot footage? Or is the RED footage intended to have a different look from the bulk of the film for some kind of effect?

For me this is a big thing because it is one thing for RED to be able to produce beautiful images. It is a completely a larger leap ahead and will really make people take huge notice if it can be cut with film and be indistimguishable.
Click to expand...

I would think you would have to grain up the RED footage for it to match.
In essence I am thinking of RED footage as a grainless 35MM transfer that
is rock solid for VFX work. If they start in April we should be hearing about whats up soon after NAB.
 
Finner said:
Will the RED footage be used to do seamless cuts between it and the film shot footage? Or is the RED footage intended to have a different look from the bulk of the film for some kind of effect?

For me this is a big thing because it is one thing for RED to be able to produce beautiful images. It is a completely a larger leap ahead and will really make people take huge notice if it can be cut with film and be indistinguishable.
Click to expand...

I'm more concerned that the film footage will look too grainy next to RED's smooth as chocolate pristine footage.
 
The "smooth" or "less grainy" RED footage will be looked at as more of a bad thing then a good thing by many at first. There will be many that say it doesn't look like fim. Now I am not bringing up an arguement of what looks better as that is completely objective for each viewer and there is no win to that argument. What I am saying is if RED one is going to get quick recognition as an excellent choice over film it will be because it can replace film without being able to tell the difference. If LUT's can be designed to match film stocks and a grain match for that film stock can be added to the RED footage then look out KODAK.

Now over time I feel less and less grain can be added to slowly get viewers use to clean digital footage but at first I feel it needs to come as close as it can to being a match to film. So back to my question for the RED team. Do they plan to seamlessly cut the RED footage with the film footage?
 
Shoot REDCODE RAW, tweak it in REDCINE, use custom LUTs to get the look you want, post it, deliver it...then if you want/need to, use the same RAW footage, tweaked and posted a different way, for a different look, post that, and deliver that...and again...and again...

It's all about flexibility and options...start with clean images, then custom-tweak them as needed for each project...

IMO RED One will heavily impact the stock footage market also: shoot 4k REDCODE RAW @24fps and 2k REDCODE RAW @60fps (high-action subjects), deliver via HDD to stock house, they can use REDCINE to custom tweak each order for licensing the footage, and down-res as necessary, without corrupting the original file...a huge leap forward...

Great news about WANTED! The first of many high-profile projects...
 
Finner said:
Now over time I feel less and less grain can be added to slowly get viewers use to clean digital footage but at first I feel it needs to come as close as it can to being a match to film. So back to my question for the RED team. Do they plan to seamlessly cut the RED footage with the film footage?
Click to expand...

I finshed an HD series last year for the BBC called "Maddigan's Quest" on the Varicam (not the highest res of HD by far) and before the shoot I watched Constantine. 3 weeks into the HD shoot I went and saw Constantine again and was struck immediately that it suddenly seemed so grainy. It doesn't take long for people's perceptions of grain to shift from romanticism to just seeing it for what it is...noise.

But of course if that's the look we're after to suit the material we're shooting then of course we can always "noise" it up a bit. :shifty:
 
This is one film that I will see, no matter what the story is about. Congrat's, RED! Only more to come!
 
Jim,
There's a movie I've been hired as the DP, I'd be more then happy to give Red a full run. It is a low budget thriller utilizing mainly students, may not be the kind of project your loooking for. It shoots in the last week of May and all of June. The story is about a young female law student who is in a class where their assigned unsolved cases to investigate. She gets a 20 year old murder that happend on campus. As she investigates things start pointing toward her Dad, the Dean. The more she finds out the more people start dying. There won't be any big names, though the executive producer is Fritz Kiersch, director of the children of the corn. I'd gladly use my red one, but I'm too far down the list. It will be shot in a hitchcok style, so we could exploit and showcase Reds capabilities.

Gopher
 
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