"24" quote...

[Jannard]

"I have had the opportunity to test the RED ONE camera over the past few weeks, including a direct comparison to the same film I shoot on "24". All I can say is that I am totally amazed. Revolutionary might not be a strong enough word to describe what RED is doing."

Rodney Charters
Cinematographer on "24"

We have opened the RED doors to Rodney and Robin for full testing without limits. I guess they were happy with the results.

Jim

 

[Justin K Phillips]

Heh...have you talked to anyone working on "Heroes" yet? That's one show I'd like to see shot with the RED ONE.

Great news, by the way. The more the merrier! Now if only I could get my hands on a RED. I suppose it's one of those things I'll have to earn...like money...and experience...

 

[Marc Higa]

damn....the hits just keep on coming.

 

[Mark L. Pederson]

"I have had the opportunity to test the RED ONE camera over the past few weeks, including a direct comparison to the same film I shoot on "24". All I can say is that I am totally amazed. Revolutionary might not be a strong enough word to describe what RED is doing."

Rodney Charters
Cinematographer on "24"

We have opened the RED doors to Rodney and Robin for full testing without limits. I guess they were happy with the results.

Jim

and to think ... some called it vaporware!

 

[Kip Hewitt]

24, by design, seems to spend a significant part of it's season shooting in dark places. I would love to see how 8000 ISO could be applied for dramatic storytelling purposes. Wide Epic vistas may no longer be the sole domain of exterior daylight shots. (The LA city streets of Collateral comes to mind.)

 

[Laco Zamba]

I was expecting 24 testing and this result. It's great news. Thanks.

 

[Shawn Nelson]

Wow! This helps us so much to have people of this caliber giving such quotes. It really pisses all over the brush fires that competitors light by suggestions of illigitimacy.

So the big question, will Rodney now drop the 35mm film and shoot 24 with Red?

 

[Jannard]

The bad news is that "24" starts shooting the next season in 10 days and we don't have enough prototypes to go around.

Jim

 

[Blair S. Paulsen]

Jack "The Red One" Bauer

Jack "The Red One" Bauer

Great news Jim. Shout out to Rodney for his great work on "24". As the storylines have become ever more predictable and the writing in general has deteriorated the look of the show has remained one of the franchise's greatest assets. The "A" camera operator, who deserves huzzahs all around for some of the best "roving eye style without the headache" work out there, is probably getting to like the smaller form factor - real fast.

I read somewhere that Keifer Sutherland felt like film was the only real medium for serious acting. Has his disdain for video been overcome by an understanding of what the RedOne really is and how different it is than any other "video" camera? Seems like a lot to expect an actor to understand :shifty: .

The real rub here is that my wife and I were NOT planning to watch "24" next season since this last one had been so weak. Now I have to convince her that we have to watch it because it's shot with the RedOne - this camera is going to lead me to my second divorce yet :waaa: .

Just read the last note from Jim that Rodney won't be able to use the RedOne for the upcoming season - whew, I really like my wife.

 

[Rocket]

"All I can say is that I am totally amazed. Revolutionary might not be a strong enough word to describe what RED is doing."

Film making is about to be completely redefined. It will never be the same again. I started researching today to put together a side by side specification comparison of the major players in digial cine aquisition for 4khub.com.

This basically came down to five cameras, the Arri D20, Panavision Genesis, Thompson Grass Valley Viper, DALSA Origin, and Red One.

Looking at the cameras side by side there is no comparison. First off, the Viper and Genesis are both glorified HD cameras, only capable of 1920 x 1080 HD (be it RGB 4:4:4), and though the Genesis at least has a 35mm sized sensor, the Viper is stuck with 3 x 2/3" CCD's.

So, this leaves us with the three main contenders. The Arri is a good camera, no doubts about that, I had a chance to see it in action at MediaTech this year in Johannesburg, and with a friend who is S.A.'s only Scratch rep, we managed to hook it's 2K output directly into the Scratch system. For 2K RGB 4:4:4 output, it at least counts as a true digital cine camera, not HD in disguise.

However, when it comes to 4K, we are left with DALSA's Origin which I remember being totally awestruck with at NAB in 2003, and the Red One. At first look, these two seem to have similar capabilities, however the Red beats the Origin both on resolution and cost, and the more I research the nitty gritty details, the more it stands out even from the Origin.

In the end, when all is said and done, Red is what we have all been waiting for, and the competition (if it can even be called that) simply fades into the distance.

There is only one digital cine camera and it has RED written all over it.

 

[Shawn Nelson]

The real rub here is that my wife and I were NOT planning to watch "24" next season since this last one had been so weak. Now I have to convince her that we have to watch it because it's shot with the RedOne - this camera is going to lead me to my second divorce yet :waaa: .

See Jim's post, they aren't shooting with Red, as they don't have enough cameras to go around.

Hopefully the season after he will. It'd be nice to see a great quote turned into using the system!

 

[Poi Boy]

I think sutherlands objection is to working (acting) in front of a small camera and not necessarily a film versus video thing. 24 wasn't very strong this year but my wife and I still had to watch Jack kick ass. Maybe some of you guys that are going to rent your cameras can help them out.
Aloha
-A

 

[Blair S. Paulsen]

Rodney Fanboy post

Rodney Fanboy post

Poi Boy you read my mind, if only I would have #19 in hand soon enough I would jump at the chance to work with Rodney. No matter what I may think of the writing the last couple of seasons, the look consistently supports the scenes and the larger story arcs.

One of the things Rodney does exceedingly well is make excellent choices in what the light reveals in the darker sets. He manages to provide excellent depth to the physical space, get textures to read and balance the frame in a freakin' action show. He also is willing to let actors move in and out of light even when it means unusual skin tone values and trusts the actors to "work" the light both when delivering lines and on reactions.

I look forward to the first thing Rodney Charters gets to shoot with the RedOne, whatever and whenever that is.

 

[Steve Gibby]

and to think ... some called it vaporware!

Yeah...those are the same guys who are now quietly investigating and adopting RED One - and then pretending that they were behind it all the way...:whistling:

Yesterday's "vaporware" may quickly become tomorrow's "cash cow ware".

Gonna be interesting...

 

[Casey Green]

Although not the case here, in the future, it will be interesting to see what unfolds politically when a DP decides to change to the RED on a show with a crew used to Film. The bonds of Camera crews are often very strong... many times resembling the relationships of a close family or perhaps more like a military unit... working alongside one another in the trenches for many years, show after show. I think it will be extremely interesting to see how this plays out when a DP of a show that has shot on film for years changes to RED. How will this be handled pertaining to his crew?

(This probably has happened a few times before with HD (sitcoms come to mind), but none that I have witnessed.)

 

[Michael Schrengohst]

"So the big question, will Rodney now drop the 35mm film and shoot 24 with Red?"

His lab and Tele-Cine house hopes not!

 

[Poi Boy]

I think the change will be rapid and cause very little termoil, except for the lab and tele cine houses. The writing is on the wall for them.
Aloha
-A

 

[Paolo Tinari]

24 is amazingly shot even thou they cross the line so many times. Rodney Charters saying that line about Red is finally giving me the right perception of what Red is going to be in the market

 

[Blair S. Paulsen]

Damn the torpedos...

Damn the torpedos...

Yeah...those are the same guys who are now quietly investigating and adopting RED One - and then pretending that they were behind it all the way...:whistling: (SNIP)

Well Steve (Gibby), you and Mark (offhollywood) certainly have the right to point out that your flags are in the front of the vanguard. Beyond that you deserve the thanks of the entire community of RedHeads for all the time, intelligence and experience you have brought to RedUser (and other forums).

 

[Nook Kim]

Although not the case here, in the future, it will be interesting to see what unfolds politically when a DP decides to change to the RED on a show with a crew used to Film. The bonds of Camera crews are often very strong... many times resembling the relationships of a close family or perhaps more like a military unit... working alongside one another in the trenches for many years, show after show. I think it will be extremely interesting to see how this plays out when a DP of a show that has shot on film for years changes to RED. How will this be handled pertaining to his crew?

(This probably has happened a few times before with HD (sitcoms come to mind), but none that I have witnessed.)

If the general makes a decision, the soldiers under him just follow. Isn't that
what military is all about? It was like that at least when I was a soldier.
If the DP of the show wants to change the format, I don't really see any trouble
coming from the below (obviously they will need to study the new format
if they want to keep working for the DP), but I see more troubles coming
from above.