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Build 16... taste
- Thread starter Jannard
- Start date
Jason Sinclair
Well-known member
"If the doors of perception were cleansed everything would appear to man as it truly is, infinite."
-William Blake
"
Mark L. Pederson
REDuser Sponsor
I always go by Mark "L." Pederson to try to avoid the confusion - I actually now just announce myself on calls as "Mark from Offhollywood."
Steve Gibby
Red Savant
Artist, techie, manager, journalist
In my opinion today’s motion media professionals need to develop themselves to a high balance of all of these knowledge divisions. We’re artists, so if we’re on the creative end of the business, that’s the starting point for everything else. It’s increasingly a technological business, so a facile knowledge of current and breaking technology is a must. This is a business, plain and simple. Learning to manage our end of the business, no matter how large or small is critical to our professional survival. We’re storytellers, thus developing journalistic and creative writing skills is critical, whether its to evaluate the writing of others around us, to write proposals and abstracts, or to script productions. No matter what our niche, job description, or multiples thereof, achieving a balanced blend of artist, techie, manager, and journalist is critical to our professional growth and sustainability. No matter what your job classification (or multiple jobs for non-union people) in this industry, a high balance of ATMJ (see above) will seriously enhance your career.
The four T’s : talent, training, technology, tenacity
We’re born with talent. Some maximize their limited talents and achieve great success. Others squander their great talents and go nowhere. What we do with our talents is up to us. Training is something everyone can seek if they want. The experience to overlay with our talents is critical. Raw talent must be tempered with training in order to be maximized. Technology opens doors to new options for everything from acquisition to post to projection. Talent being a given, training and experience using new technology enables us to compete with our peers. Tenacity and perseverance are a choice. A solid career in this industry is always built and maintained on a foundation of tenacity. No matter what your job classification (or multiple jobs for non-union people) in this industry, a high balance of the Four T’s will seriously enhance your career.
Left brains, mid brains, and right brains
We’re born with what we’re born with. In simple terms, here’s how each operates: Left brainers are pragmatic and logical. Mid brainers migrate at will from left brain logic to right brain artistry. Right brainers are artistic. There’s a niche for all these types in the motion media industry. Left brainers do best at the business end of this business: accountants, attorneys, general managers, etc. Mid brainers have a wider latitude of job choice in this industry, depending on which brain lobe they want to operate in the most – they usually seek to work at multiple job classifications. Right brainers tend to stick to the creative end of the business only: cinematographers, writers, editors. What are you? If you find yourself trying to fit a proverbial square peg in a round hole wisdom dictates a re-evaluation of your brain type and re-training into something more suitable for you.
Darwinian Natural Selection
In the natural world, individuals and species that don’t adapt to changing conditions program themselves for individual elimination and/or group extinction. Yes, this principle applies to the motion media business. There’s a constant shakeout of individuals (and in some cases whole groups) in this industry. Evolving to changing conditions is critical to our professional survival. An ostrich head in the sand act won’t head off the onslaught of change. Yes, art is art, but the ways of doing art, and the tools available for it inevitably evolve. By refusing to evolve with the industry we run the serious risk of programming ourselves for individual elimination from this business. Certainly tradition should be honored, and applicable knowledge be carried forward – but nobody has ever really “arrived”. If we think we have all the answers we’ve just taken our first step onto thin ice. How long can you tread water?
Putting the above in context
When I stated earlier in this thread that my decision to adopt RED was the most important decision in my career, I meant that in a professional sense. My career has been non-union by choice, thus I’ve worked (and do now) in a wide range of jobs in this industry, including cinematographer, DP, scriptwriter, editor, director, producer, and executive producer. As a cinematographer I’m very happy with having my new RED tool in my kit. That’s not to say I don’t still use other tools. As a DP, RED gives me another good choice for certain productions. As and editor, even though the post workflow is more circuitous, the RED images are stellar. As a director I love having a small, mobile DC camera that will give me S35 DOF and is affordable enough to have multiples of them on a production. As a producer handling budgets and making projects “fly”, RED ONE gives me an affordable but very capable camera system which makes sense to own rather than just rent.
Final thoughts
Handing someone a paintbrush doesn’t make them Picasso. Handing someone a pen doesn’t make them Shakespeare. Handing someone a RED ONE camera doesn’t make them Haskell Wexler. But RED ONE is a “game changer” on multiple levels of the motion media industry – thus IMO my adoption of RED was a pivotal point in my career. Some may say “But it’s just a camera”, but I’d say to them “No, it is a game changer, being followed up by other game changers from the same company”. Being in early (RED #8 and London), and acquiring multiple other RED cameras since, has opened significant professional doors for me, and continues to do so. Basically all of my current key alliances and productions grew directly from my adoption of RED. Professional life is full of choices – and we either enjoy or suffer from the choices we make. I’ve always believed that someone should choose their occupation based on what they love to do. If they do it well enough for long enough, money will take care of itself. But that love should be tempered with the realities of their chosen workspace – many of which I’ve illustrated in this post.
Build 16 looks like it will rock…thanks RED…
In my opinion today’s motion media professionals need to develop themselves to a high balance of all of these knowledge divisions. We’re artists, so if we’re on the creative end of the business, that’s the starting point for everything else. It’s increasingly a technological business, so a facile knowledge of current and breaking technology is a must. This is a business, plain and simple. Learning to manage our end of the business, no matter how large or small is critical to our professional survival. We’re storytellers, thus developing journalistic and creative writing skills is critical, whether its to evaluate the writing of others around us, to write proposals and abstracts, or to script productions. No matter what our niche, job description, or multiples thereof, achieving a balanced blend of artist, techie, manager, and journalist is critical to our professional growth and sustainability. No matter what your job classification (or multiple jobs for non-union people) in this industry, a high balance of ATMJ (see above) will seriously enhance your career.
The four T’s : talent, training, technology, tenacity
We’re born with talent. Some maximize their limited talents and achieve great success. Others squander their great talents and go nowhere. What we do with our talents is up to us. Training is something everyone can seek if they want. The experience to overlay with our talents is critical. Raw talent must be tempered with training in order to be maximized. Technology opens doors to new options for everything from acquisition to post to projection. Talent being a given, training and experience using new technology enables us to compete with our peers. Tenacity and perseverance are a choice. A solid career in this industry is always built and maintained on a foundation of tenacity. No matter what your job classification (or multiple jobs for non-union people) in this industry, a high balance of the Four T’s will seriously enhance your career.
Left brains, mid brains, and right brains
We’re born with what we’re born with. In simple terms, here’s how each operates: Left brainers are pragmatic and logical. Mid brainers migrate at will from left brain logic to right brain artistry. Right brainers are artistic. There’s a niche for all these types in the motion media industry. Left brainers do best at the business end of this business: accountants, attorneys, general managers, etc. Mid brainers have a wider latitude of job choice in this industry, depending on which brain lobe they want to operate in the most – they usually seek to work at multiple job classifications. Right brainers tend to stick to the creative end of the business only: cinematographers, writers, editors. What are you? If you find yourself trying to fit a proverbial square peg in a round hole wisdom dictates a re-evaluation of your brain type and re-training into something more suitable for you.
Darwinian Natural Selection
In the natural world, individuals and species that don’t adapt to changing conditions program themselves for individual elimination and/or group extinction. Yes, this principle applies to the motion media business. There’s a constant shakeout of individuals (and in some cases whole groups) in this industry. Evolving to changing conditions is critical to our professional survival. An ostrich head in the sand act won’t head off the onslaught of change. Yes, art is art, but the ways of doing art, and the tools available for it inevitably evolve. By refusing to evolve with the industry we run the serious risk of programming ourselves for individual elimination from this business. Certainly tradition should be honored, and applicable knowledge be carried forward – but nobody has ever really “arrived”. If we think we have all the answers we’ve just taken our first step onto thin ice. How long can you tread water?
Putting the above in context
When I stated earlier in this thread that my decision to adopt RED was the most important decision in my career, I meant that in a professional sense. My career has been non-union by choice, thus I’ve worked (and do now) in a wide range of jobs in this industry, including cinematographer, DP, scriptwriter, editor, director, producer, and executive producer. As a cinematographer I’m very happy with having my new RED tool in my kit. That’s not to say I don’t still use other tools. As a DP, RED gives me another good choice for certain productions. As and editor, even though the post workflow is more circuitous, the RED images are stellar. As a director I love having a small, mobile DC camera that will give me S35 DOF and is affordable enough to have multiples of them on a production. As a producer handling budgets and making projects “fly”, RED ONE gives me an affordable but very capable camera system which makes sense to own rather than just rent.
Final thoughts
Handing someone a paintbrush doesn’t make them Picasso. Handing someone a pen doesn’t make them Shakespeare. Handing someone a RED ONE camera doesn’t make them Haskell Wexler. But RED ONE is a “game changer” on multiple levels of the motion media industry – thus IMO my adoption of RED was a pivotal point in my career. Some may say “But it’s just a camera”, but I’d say to them “No, it is a game changer, being followed up by other game changers from the same company”. Being in early (RED #8 and London), and acquiring multiple other RED cameras since, has opened significant professional doors for me, and continues to do so. Basically all of my current key alliances and productions grew directly from my adoption of RED. Professional life is full of choices – and we either enjoy or suffer from the choices we make. I’ve always believed that someone should choose their occupation based on what they love to do. If they do it well enough for long enough, money will take care of itself. But that love should be tempered with the realities of their chosen workspace – many of which I’ve illustrated in this post.
Build 16 looks like it will rock…thanks RED…
Rudi Herbert
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...and he is back in fine form! Amen to that Brother Gibby!
Uli Plank
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Excellent text, I'll make my students write it 100 times ;-)
Regards,
Uli
Regards,
Uli
Joseph Hutson
Well-known member
Thank God I am not your student.
That post #225 of Gibby's was very Clair de Lune for me. And the best part was, I could find nothing in it that I disagree with!:biggrin: So, might as well close this thread because his post pretty well sums it all up.
edit: Just to be clear, I don't think I could ever master what he described, but I certainly admire that type of approach.
edit: Just to be clear, I don't think I could ever master what he described, but I certainly admire that type of approach.
Radoslav Karapetkov
Well-known member
Yeah, I think I'm gonna like do the evolution and get a RED.
Take no prizonerrrrz!
Take no prizonerrrrz!
Sanjin Jukic
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Gibby thanks.
Well-written.
Well-written.
Ben Staley
Member
Gibby,
Mullens,
Gracias..
Mullens,
Gracias..
Mark K.
Well-known member
I'm confused, how do you adjust the actual sensitivity of the camera? My understanding was that ISO on the Red One was simply metadata.
jimhare
Well-known member
You don't. You need to expose properly for your desired ISO and dial it up in Redcine/ALERT. Nothing in camera, except for monitoring.
purefilm
Well-known member
I am really amazed with the work RED has done, and i can not wait for the next round. Build 16 looks great, but lets see some moving picture.
David Birdy
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SWEET 16 !!!
Michael Brennan
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Best way to see the improvement is to shoot build 15 beside build 16 under same lighting and lens ect.
Any chance?
Mike Brennan
Any chance?
Mike Brennan
Joseph Hutson
Well-known member
Congrats on your new title! 100th post
Have you seen the Lamborghini? That was a moving picture.
- Thread starter
- #238
Jannard
Red Leader
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We are pretty busy to handle every request. I can't switch my camera back to Build 15 and I'm not at the office. We have done it many times (files are somewhere) but you'll just need to trust us for now, and the posts from the Alpha testers, that it is a marked improvement. It won't be long when you can do your own tests.
Jim
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cinepost35
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Are things still looking good for possible beta release at the end of this week Jim ? (Not holding you or the rest of the Red Team to it)
Shawn Nelson
Well-known member
Someone else brought this post up in a different thread. Jim, what denoiser were you using on the pics in post 1 of this thread? I can't get my Build 18 footage to look as good as your ISO 1000-2000 stuff, much grainer. Not at ALL suggesting you weren't being straightforward (since you never posted that denoising techniques werent being used), just saying I'm ignorant of the secret sauce you used to get it and I was wondering if you'd post your preferred method.