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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 :)

All Oscar Nominated films were shot on Arri or IMAX

I want to bet that we'll have a Monstro nominated film next year. Who wants to enter this bet? I pay dinner and drinks here in Macau to anyone who wants to take this bet. (max 2 takers :) )
 
Sergio Perez said:
I want to bet that we'll have a Monstro nominated film next year. Who wants to enter this bet? I pay dinner and drinks here in Macau to anyone who wants to take this bet. (max 2 takers :) )
Click to expand...

Me, me!
I can eat for two. And drink. :)
 
Sergio Perez said:
I want to bet that we'll have a Monstro nominated film next year. Who wants to enter this bet? I pay dinner and drinks here in Macau to anyone who wants to take this bet. (max 2 takers :) )
Click to expand...

Any category?
 
The answer is simple. We, in the RED community, have the responsibility to go out and shoot award worthy films with our various flavors of RED. :-)
 
I think it just comes down to that damn milky highlight retention and overall ease of use all the way down to file sizes...etc. Arri not only has a great image, but it seems to me like the learning curve for producing great looking content is a lower bar than using a RED camera in my opinion. It seems like there is less variables when using ARRI than with RED and in the overall scheme of things it probably costs more money in post/dit with RED footy than ARRI.
 
Nick Morrison said:
RED is clearly doing something right, as Arri has followed their example numerous times: smaller form factor, larger sensor sizes, and yes...more K's.
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Arri is not following Red. DPs wanted smaller form factors, larger sensor sizes, and netflix wanted more K's. You're seeing causality where there isn't. If Red had disappeared years ago the industry would still be asking for the same things. Red being the one of the first to answer doesn't mean they're leading what people want or what others offer.
 
Šabović Adis;1790933 said:
Me, me!
I can eat for two. And drink. :)
Click to expand...

Alright! :)

Monstro counts for both DXL2 and DMSC2. Categories to be considered will be directing, best film and obviously cinematography.
 
Sergio Perez said:
Alright! :)

Monstro counts for both DXL2 and DMSC2. Categories to be considered will be directing, best film and obviously cinematography.
Click to expand...

I'll make the same bet with you that you've made a good bet. :)
 
If you think a movie getting nominated for an academy award has anything to do with what camera was used to shoot it I don't even know what to say to you.
 
Chris McKechnie said:
It's funny how our industry is so caught up in cameras, that oftentimes, we forget that story is king, and it's the story that really wins the Oscar. So while it's great talking camera geek stuff, and oh that movie was shot on this, or that, it really isn't the reason why people go to the movies, and I don't think it ever will be.
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We're obsessively focused on it because we do work in the camera department.

If this wasn't called REDuser but instead was a forum called STORYuser (or DIRECTORuser or WRITERuser or whatever) then I'm sure there would be waaaaaaay less discussions of cameras!
 
I think one has to really consider what the plan is with the camera. Is it going to be used mainly for cinema movies, then Arri may be an "easier" choice. I wouldn't say better but easier.
However in our own case we film:
- Wildlife
- Slow motion VFX
and here RED is clearly a better camera. We have:
- a lighter camera
- higher resolution
- more slow motion

We are currently considering a Helium upgrade. Monstro would be a dream, but it is a big investment.
There are a few things I wish would improve with Red cameras in the future:
- The interface. I think its quite clever but I find it frustrating to navigate due to the low frame rate. I also thing some menues could be faster to navigate like frame rate and aperture by changing the layout. Shortcuts helps of course.
- I really miss that I cannot see on the screen if what I'm filming is in focus. A 2k view doesn't tell the same story as 4k and of course 8k. So some kind of focus window in the future would make a great difference for us.
- I think especially weapon is a bit costly, at least compared to how Red pricing used to be. We bought our Epic brain for around 17.500 dollars if I remember correctly. The weapon which has similar frame rates but higher resolution is $61.000. Epic-W is lots cheaper, but tough to go to 30fps from 96fps.
- More slow motion. Any improvements to slow motion would be a big improvement for us. For us it is more important than resolution.
- Some workflow improvements. I still wish we could delete or even trim clips in camera. Now I have to carry with me a laptop to do this into the jungle which isn't great when you already carry 25kg and it is 40 degrees warm.

All to all I have loved our Epic since day 1 and still do. Everytime I look at the images, even now comparing with Helium and Monstro I think "wow the image is still fantastic" and I never felt that with any other camera.

Andreas
 
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