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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 :)

Arri Alexa and Mysterium-X...

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David Rasberry said:
It will be interesting to see if Arri offers some form of raw acquisition too at some point.
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Even before the Arri on-board recording system is announced at NAB, as I understand it the prototypes have Arri T-Link output, so the RAW can be recorded with eg a Codex.
 
what is this talk about real 800 ASA?
at the same time he talks about underexposing the camera without getting noise, which is damn good. so whats the deal here.
is it like MX 800 ASA doesnt match a lightmeter?


I am glad Emmerich considers RED.
 
Tom Lowe said:
Same thing I predicted years ago. I was calling Epic the "film slayer" the day it was announced. In fact, Jim stepped in and offered to back my side of the bet, but Stephen Williams changed his mind when the real money was slapped down on the table in front of him. :smilielol5:
:
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,
Hi Tom,

I never changed my mind, I suggested a percentage of net worth bet with Jim, however he declined! $10,000,000 is more than I can afford to loose, however it looks like I would have won & will collect from you shortly. If you want to increase the size of your bet, let me know

Best,

Stephen
 
David Rasberry said:
True, but a good HDSDI solution will make the camera more usable and efficient for general video production where the archival issue is of little importance. Nice to have the choice on a project by project basis.
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In this case RED should finally enable and make possible HD-SDI recording from R1-M-X just to have all that Alexa, F35 or Aaton,... have or will have.

To make R1-M-X swiss Army knife sort of digital acquisition system with universal image recording sizes (4.5K, 4K, 3K ,2k and HD-SDI direct on-board and out of camera recording solution).

red1_swiss_army_knife_03.jpg

To make R1 as a Swiss Army Knife digital acquisition system with universal image recording sizes (!?).
 
Sanjin Jukic said:
In this case RED should finally enable and make possible HD-SDI recording from R1-M-X just to have all that Alexa, F35 or Aaton,... have or will have.

To make R1-M-X swiss Army knife sort of digital acquisition system with universal image recording sizes (4.5K, 4K, 3K ,2k and HD-SDI direct on-board and out of camera recording solution).

red1_swiss_army_knife_03.jpg

To make R1 as a Swiss Army Knife digital acquisition system with universal image recording sizes (!?).
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Is it still RED ONE? :-)
 
Roland Emmerich is obviously not impressed with Panavision Genesis.
 
R-1-M-X with set of brand new (still have to be named) Mystery Primes is going to make a new high quality,

affordable and postproduction friendly image acquisition standard in Hollywood and beyond...
 
Harry Clark said:
Even film's "rating" is just a suggestion by Kodak or Fuji. After designing a stock, and testing it, they settle on a speed that produces the "best" image, in their opinion.
However, individual DPs are free to choose to rate the film differently and put the picture information on a different part of the curve, for artistic effect or convenience.
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Great post... and something alot of people forget.
 
Jarred: you're up early and posting - or are you simply not sleeping these days now that prototypes are in hand?

I don't know if "2010 IS THE YEAR THAT CELLULOID DIED..." as I think it will be one of the aesthetic choices available for quite awhile, but I do think with the introduction of Epic and Alexa this is the year where digital will no longer even be perceived as a compromise.

Just finished a shoot where we got some phenomenal footage with the R1 and totally excited that Epic-X is just around the corner.
 
I guess it's good to hear Arri is making advancements, re: running along side the RedOne train. But that's just the caboose. If anything, it says the Panavision model of "you can't own this" has died. And if I'm going to own it, I want a system I can grow with and a company that understands that.

Of course, the image quality of the MX is hands down, stunning.

Beyond all that, ONLY RDC is fully funding and developing the entire system, origination>modification>post>release. RDC is the company we want to grow with.
 
Tom, if you remember the bet, it was that the majority of feature production would be digital by 2010 (late 2010?)... and I said that first the next generation of cameras had to come out, and then the movies had to go into production, so we were not likely to see them as the dominant example for a few years.

Well, it looks like that next generation -- post Genesis, F35, original Red One, Arri-D21, etc. -- is just arriving now in the spring-to-summer of 2010. Alexa certainly won't be making much of a mark in feature production until late 2010 at the earliest.

Tonight I just interviewed over the phone for a studio feature and mentioned the new M-X cameras and they still plan on shooting film, but they are willing to shoot some tests.

So personally, between the lack of converted M-X cameras this spring, the lack of the Alexa until summer to fall, the general conservative nature of studio people, while technically this may be the year (2010) that digital cine cameras are no longer a compromise compared to 35mm film cameras, that means that 2011 will be the year of production transition, and odds are low that even in 2011 that the majority of released features in theaters will be shot digitally.

Keep in mind that even now that digital is reaching parity, and exceeding film in some areas, someone shooting a feature on a decent budget doesn't have to choose digital over film. And there are a lot of directors who like film -- I seriously doubt "Transformers 3" will be shot digitally, for example.

Major transitions in technology do not happen overnight, not in production. Even now, people are struggling to find enough M-X cameras to shoot on and I expect that not to change until we get to the summer of 2010. And a feature shot in the fall of 2010 probably won't hit theaters until the fall of 2011.

First the technology has to be invented that matches or exceeds film in a majority of ways, and it has to be production-friendly -- second it has to be built and released in large enough volumes to be readily accessible -- and then third it will co-exist with current technologies for a few years. Not to mention factoring in the time it takes to shoot, post, and release a feature.

Maybe we are just splitting hairs here about the dates... but if 2010 is the year where we don't have to compromise by shooting a feature film digitally, then we can start the clock NOW in terms of the true, final, transition away from 35mm film. And that's not going to happen in a single year, especially when these new cameras will take most of 2010 to come onto the market. That makes 2011 the year of production and 2012 the year of release. And it doesn't take into account the percentage of well-budgeted features and directors who have the option of sticking to film if they prefer it, which is a bit unpredictable in terms of whether it is 50% or not.
 
Great great point David, all 100% true imo. There is also the fact that POST is one of the things that catches up to the camera much later. First party software helps a great deal, from Red, Arri, and what not, third party software can help too. Workarounds can and will be made, post will "make it work" but a lot of companies don't always upgrade to the latest and greatest right away, and waiting for software to come out takes time too.

Film is a standard and the workflow has become such a seemless process a lot of people won't move away from it until the digital becomes that much of a standard in workflow too. Without a solid workflow you have no film, just footage. Not saying it WON'T happen, just saying aspects of making a movie start to finish has different delays on what you are doing.
 
David the bet was that 50% or more of major American features that are "in production" -ie, being filmed - on January 1, 2011 will be shot majority digital vs majority film.

How we are supposed to get accurate stats on that, I'm not sure!

Anyway, welcome back, Stephen. ;). We missed you.
 
The timeframe really isn't important... we all know its going to happen, its just a matter of time, and we are definitely at or near that cusp.

Film will likely always be around.. there really isn't a very good reason to shoot 16mm ( or even 8mm) anymore but people still do.. for aesthetic reasons.

Just like in the professional 35mm still world, (which I just read that 92% of published photographs are acquired digitally) some people still use film.. and likely will continue to do so as long as they keep making it.
 
Tom Lowe said:
Anyway, welcome back, Stephen. ;). We missed you.
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heh heh yes indeed.. even after all the nasty things you went and said about us :)

Welcome back... it is good to see you here.
 
I know my comments might not be the most germaine to the conversation at hand, but for me to be able to afford to own a camera that competes in this league is just nothing short of miraculous. I am sure Alexa is going to be a killer camera, with an appropriatly killer price tag.

Thanks Red.
 
Its great two have good competition, it keeps you working harder :)

Props to Jim for being a class act. He reminds me of a time when men wore suits and hats to go outside for a walk(to smoke a cigar). Today kids just run their mouth of with profane derogatory comments, instead of saying something kind about their fellow man.

Bravo.
 
Tom,

That's actually incorrect.

I will provide a link if you really want to read what you agreed to.

Best,

Stephen

Tom Lowe said:
David the bet was that 50% or more of major American features that are "in production" -ie, being filmed - on January 1, 2011 will be shot majority digital vs majority film.

How we are supposed to get accurate stats on that, I'm not sure!

Anyway, welcome back, Stephen. ;). We missed you.
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