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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 :)

Che

Enquirering minds want to know...Thats why.

Dogday
 
i think all is said.
There is so many footage published that shows the great quality in color and details of this camera. it is what it is.
i just got infos about CHE from a friend staying in cannes and he said it was pretty good what he saw.
 
What video PROJECTOR was being used in Cannes to show Che? Boy, there are a lot of projectors out there and most of them crush the highs AND the lows and chunk up the colors. How accurate a test is this if the projector is an unknown? I've seen some very ugly video projections of otherwise beautiful films, and also the 4k screening of CHE at NAB which was fantastic.

I just screened a feature that I shot at Tribeca Film Center last week and it looked fantastic. They had an $80k NEC projector which we fed directly from a 2k Quicktime from the director's Macbook Pro. We shot with two HVX200 cams.

So film 101, maybe they used a shitty projector.

Oh, was the story any good?
 
Come out with your defense film101

Come out with your defense film101

Come out with your defense film101. Its sad that people like you who criticizes new technologies were the one to adapt full fledged after period of time.

Every newer technology are criticized at the beginning and RED is not the last one.

If you are really interested in Digital Cinema come out and answer peoples questions else keep shut and shoot with what you like best.

RED Rocks! Panavision envies!
 
It's interesting that CHE part 1 is being touted has having the superior picture. From what I recall, CHE part 1 used anamorphics, and as a result used only some ~2k of the RED ONE sensor?

If CHE part II was shot on sphericals and 1.85:1, was it not shot at the full 4k?

It sounds to me like the viewers just like the cinematography, anamorphic artifacts and presumably more aggressive grading on Part I.

I look forward to seeing CHE in the theatres. I'm really keen to see a feature entirely shot on RED.
 
"So film 101, maybe they used a shitty projector."

Dear Douglas

Cannes festival is one of the major film festival in the world. They known to have the very best theater of Europe. I don't know the projector but let me doubt they used a "shitty" projector.
By the way the Cannes festival is very well cover by the media here in France.
I can assure you that no one complain about a "shitty" video look of the Che, they don't even notice it was shot in digital...:tongue:
 
Che doesn't merely look wonderful;
it also delivers on the long-promised but rarely delivered potential DV offers real artists.
Click to expand...

DV? Some are left behind...
 
"The Cannes film festival now has a serious contender for the Palme d'or.
Steven Soderbergh's four-and-a-half hour epic Che, about the revolutionary
Ernesto "Che" Guevara, was virile, muscular film-making, with an effortlessly
charismatic performance by Benicio del Toro in the lead role."

Quote from The Guardian.

LINK>>>
 
I saw the Che clips at NAB and thought they looked wonderful. I wonder if a poor projector setup can clip highlights and block up shadows? From my limited experience with RED footage I see no problems with DR, blocked shadows or highlights.
 
Film 101's email is....

rick@sony.com

kidding......not that I even know if his name is rick. The RED doesn't have film latitude for sure. But it will very soon and because we can monitor it in realtime unlike film we don't need quite as many stop in IMHO. More DR will be nice but with proper exposure it's completely usable.

I also think digital projection is a very new thing for us and compounds any perceived problems.
 
The highlights clip exactly like video, in many shots no better than consumer video. Day exteriors where the sky is outside the, what look to me to be 5 stop range of the camera, are ugly. The sky blows out into white, with a sharp cliff from whatever the nearest brightness value to white was.

Film 101:

If I get more than 5 stops with my Red Cam, would you pay me $10,000 usd per stop? If you get me more stops in consumer video camera, then I will pay you $10,000 per stop.

I am dead serious about this.
 
We have shown the same footage at NAB. The real critics rave about the "look" of the Cannes footage. Soderbergh and team are very happy with the look.

So some unknown 1st poster says the footage looks bad and we believe him because...?

Jim
 
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