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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 :)

Bruce Wills... W Magazine... Shot on RED!

N

Nick Metcalf

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The July issue of W magazine has a 22 page story featuring Bruce Willis and Emma Hemming shot on the RED.

Honeymoon Hotel
Photographed by Steven Klein
RED Still Capture by Vision ON

View the slideshow here

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By W magazine you mean the one produced by George "W" Bush? Right?
 
profoto said:
Was the entire spread plus cover shot with RED, or were images from digital still included as well
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The cover is NOT along with the last image in the layout. Everything else was RED. I personally like the "texture" of the RED images better but let me know what you think when you see it printed.

We were setup vertically to shot the cover image but things got changed at the last minute :(
 
Scott Webster said:
Nick, Was there a video cut or just a strictly 'stills' production? Was production influenced by the Megan Fox shoot? What was the reason for shooting Red?
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The shoot was strictly for stills. I'm not sure if anything will ever be done with the footage.

I don't think Megan Fox was an influence on the shoot ;) We have been working with photographers using the RED for stills production for over a year now. We worked on this shot with Annie Leibovitz last year for Vanity Fair that was shot with RED for still use only:

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Vanity Fair, December 2008
 
Scott Webster said:
Nick, Was there a video cut or just a strictly 'stills' production? Was production influenced by the Megan Fox shoot? What was the reason for shooting Red?
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The only thing I can figure out is maybe they use a RED because it would be silent, you are not using strobes and you can monitor on a 40" LCD screen???
That way your model/actor does not know when or if you took a shot.
Easier for a photographer/director to give direction?
 
I'm also curious on camera settings, are yous shooting at high shutter speeds to reduce motion blur? How do the photographers pick a frame? It was hard enough when Dslr and digital medium format backs became popular, but now you've got 24 shots every second!
 
Noah@posnick.com said:
I'm also curious on camera settings, are yous shooting at high shutter speeds to reduce motion blur? How do the photographers pick a frame? It was hard enough when Dslr and digital medium format backs became popular, but now you've got 24 shots every second!
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Related to that for motion. Are you shooting in full 4k or getting 2k to capture motion (with or without sound).
 
Noah@posnick.com said:
I'm also curious on camera settings, are yous shooting at high shutter speeds to reduce motion blur?
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As far as camera settings for stills an ideal situation is to be at f8 @ 1/500th of a second but I have yet to be on a set where that was possible. *So we do our best to make it work so the photographer has the most amount of usable frames at the end of the day. ( no one has complaned about the lack of frames to choose from by the way ;)
 
JosephArthur said:
Related to that for motion. Are you shooting in full 4k or getting 2k to capture motion (with or without sound).
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We capture everything for stills at 4K. Shutter speed is far more important than fps in terms of getting the most amount of usable stills.

Also, 2K simply isn't big enough to reproduce in print at a high enough quality. On the other hand we have made 30x60" prints from 4k images that look amazing :)
 
Nick Metcalf said:
The July issue of W magazine has a 22 page story featuring Bruce Willis and Emma Hemming shot on the RED.

Honeymoon Hotel
Photographed by Steven Klein
RED Still Capture by Vision ON

View the slideshow here

cessbruceemma03h.jpg


cessbruceemma08h.jpg


cessbruceemma05h.jpg


cessbruceemma02h.jpg


cessbruceemma10h.jpg
Click to expand...


Those pics are kind of blowing mw away. Fantastic lighting! This has me exited about possibiiities... - how choppy would these look back played as video? saving private ryan on steroids?


Any way, Im really impressed. These are some of the best fashion/editorial shots I have seen in a long time, regardless of acquisition format. Wow. Thos Greg Williams "Motos" were just the beginning, obviously. Lighting and art direction here are so top notch.

I wonder though, aside from having a zillion frames to choose from, how the red differs from using say a 5d for getting stills. More in regards to texture and dynamic range and noise then resolution. Obviously for pure resolution and noise a 5d wins, but man, these shots are amazing!
 
:iagree: What he said. Good questions.

Tell me if I'm just being a fanboy. But it seems the Red One's colours are just unattainable for other cameras to be able to produce.
 
Andrew Wilding said:
I wonder though, aside from having a zillion frames to choose from, how the red differs from using say a 5d for getting stills. More in regards to texture and dynamic range and noise then resolution. Obviously for pure resolution and noise a 5d wins, but man, these shots are amazing!
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Not speaking for anyone else here but...

I think in general it's more of a creative decision than a technical one. The format you use can change the way that you interact with your subject matter. The way 4x5 can force you to make a slow thoughtful composition or the way a point-and-shoot lets you capture something spontaneous. It's just different ways of working to achieve a final image. IMHO.

There are also clients that we work with that want "stills" from there "video" shoot OR "video" from there "stills" shoot and I think that is really the sweet spot for the RED.
 
nice shoes :crazy:
 
Andrew Wilding said:
how choppy would these look back played as video? saving private ryan on steroids?
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Something shot at 1/500th would definitely be CHOPPY but we have done some testing with vector based plugins that can eliminate most of that effect. But, it doesn't have to be that high to pull a "non-blur" still from the footage... there will just be more of them.

profoto said:
Nick,

I'm just guessing here, but was your shutter set to 1/48?

I'm also guessing you used HMI's for all the shots
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I think we were closer to 1/60th for most of the shots. All continuos light mostly tungsten balanced ( the camera was at 2200K most of the day) Would have loved to have Build 20 when we where working on this ;)

profoto said:
Nick,

Have you come across magenta fringing in blown out high key areas? Also for your vertical shots, there is a bracket that is available.
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Just saw some fringing for the first time on a job we did last week only after pushing the file in RC about a stop. For stills i think it's easy to fix in most cases but this would definitely be a problem for the video... are there any solutions for that?

Our vertical setup is made from bits of the base production package. We have tried tilt plates etc but what we have now is small and makes it very easy to switch back and forth. Would be curious to see what other people are doing...
 
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