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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 :)

Director's opinions

Very nice Gianluca.

I think he said some really interesting things, primarily that it is NOT a video camera and when working with it the sesibility felt like film.

BUT. Like everyone on earth for some reason, thinks that there are "post prooblems" with workflow.

David

David
 
Someone will have to translate it into English for me! :biggrin:
 
Ketch speaks fluent Italian. Maybe he do us the honor of a distilled transcript. Rossi where are you? :laugh:
 
He didn't mention any problem with the workflow. He was only saying, at some point, that if you want to have natural landscapes, probably the red is not just actually there. But all in all they didn't face the problem since the feature was mostly on urban environment. The red got thumbs up from this interview, because it acts like a cinema camera. Also, I think the director used the red1 and not the mx.

Ciao
 
Piero Dellino said:
He was only saying, at some point, that if you want to have natural landscapes, probably the red is not just actually there.
Click to expand...

Piero, can you explain this a bit further. I think I'm losing the translation a little bit.

Thanks!
 
Hi Steve,

the director, in the interview, was saying that if you want wide panorama shot of natural landscapes, in his opinion, film is still a little bit superior to red. Immediately after he states that for his movie they shot urban scenes, therefore this was not an issue (his words, not mine). In addition, he clarified that they were shooting 4k, using hard drives, and also in shaky conditions (inside buses over bumby roads) they got no problems. They edited in PAL with FCP, and now they are producing the DI. This is more or less the interview content.

Piero
 
Piero Dellino said:
...in the interview, was saying that if you want wide panorama shot of natural landscapes, in his opinion, film is still a little bit superior to red....

Piero
Click to expand...

Exactly my opinion. But I'm not on MX so that may developed to the better.

IMHO, it's not only a DR thing, it's also a colour thing. But build 30 improved that vastly.

Hans
 
Piero Dellino said:
Hi Steve,

the director, in the interview, was saying that if you want wide panorama shot of natural landscapes, in his opinion, film is still a little bit superior to red. Immediately after he states that for his movie they shot urban scenes, therefore this was not an issue (his words, not mine). In addition, he clarified that they were shooting 4k, using hard drives, and also in shaky conditions (inside buses over bumby roads) they got no problems. They edited in PAL with FCP, and now they are producing the DI. This is more or less the interview content.

Piero
Click to expand...
Yes, film is still tough to match in terms of richness and especially those sweeping 70mm landscape shots. Red and other digital cinema cameras are making a lot of progress though. I've seen some nice landscapes done on RED.
 
Piero Dellino said:
He didn't mention any problem with the workflow. He was only saying, at some point, that if you want to have natural landscapes, probably the red is not just actually there. But all in all they didn't face the problem since the feature was mostly on urban environment. The red got thumbs up from this interview, because it acts like a cinema camera. Also, I think the director used the red1 and not the mx.

Ciao
Click to expand...

Piero,

I thought toward the end he did mention this. I though the best thing he said was that it was like working with film and that it was a professional machine. When he contrasted it against other VIDEO systems he realized that RED was much more film like in the whole approach.

He made some good comments about the choice of tool versus the subject matter. Saying that this film, which was in an urban setting, suited the RED "look" whereas he would still choose other formats for specific film styles with broader vistas and landscapes but I took that in a "creative choices" context.

David
 
He was also asked about the new dsrls, but he replied they didn't consider the option. At that point he said that he knows there are problems with post processing from dslrs. Finally he added that when you start adding big cinema lenses to dslrs the "rig" can be uncomfortable.

Piero
 
Rough transcript:

Q: I really need to ask you about using the red.

A: At first I was perplexed because often by using video you run the risk of recording a lot more, more than you might with film...with out proper structure you can not synthisize the film you are trying to create, you can easily loose the vision of what you are trying to create.

Q: You are talking about the flow of the work.

A: Yes. but with RED it ultimately convinced me because it is a machine that forces you to maintain a cinema menatality. IT's a tool that requires you take your time and use considered thought. You don;t just run around and shoot with it. Let's say it's a machine that you have to respect. Shooting with a red is like filming with 400ASA film with no grain. Basically it has the advantages of video in the sense of that we recorded more and it costed us less. Eventually I forgot about the technology and that it was a RED it was the camera.

Q What did you do about editing?

A. I can't explain that exactly..We shot 4K on disk and edited low res in PAL with Final Cut now we are doing the DI and transfereing to film negative.

I've spokent to people who have had problems but we had no problems because over time the bugs have been worked out. For example up until recently you might have problems if you recorded where there was to much vibration, but we were on a pullman and did not have thee problems.

Q: so the red it a cinema camera?

A Yes. But I repeat, it depends what you want to do, how you want to do it, If you wanted to film landscapes and wide shot vista's amybe the red just isn't quite there yet to give you what you are looking for.

But our very urban film made really for television, a television that doesn't exist, however it is cinema.

Q: Have yo heard about DSLR?

A. I have not used them, I have heard there are problems not in image captuer but in post production. They are very nimble but if you ahve to use them in a cinematic way...

Q. you have to build the world around them....

A. Yes and this can become a problem. You have to remember that the technology you choose can and will change the way you do things. You need to synthesize the story you are telling with the technology you are going to use.

This will always be true. You always are searching for that equilibrium.



David
 
David,

your traslation is perfect, and demonstrate how an almost 8 minutes interview in italian, transforms into a few lines in English
 
David Battistella said:
Rough transcript:

Q: I really need to ask you about using the red.

A: At first I was perplexed because often by using video you run the risk of recording a lot more, more than you might with film...with out proper structure you can not synthisize the film you are trying to create, you can easily loose the vision of what you are trying to create.

Q: You are talking about the flow of the work.

A: Yes. but with RED it ultimately convinced me because it is a machine that forces you to maintain a cinema menatality. IT's a tool that requires you take your time and use considered thought. You don;t just run around and shoot with it. Let's say it's a machine that you have to respect. Shooting with a red is like filming with 400ASA film with no grain. Basically it has the advantages of video in the sense of that we recorded more and it costed us less. Eventually I forgot about the technology and that it was a RED it was the camera.

Q What did you do about editing?

A. I can't explain that exactly..We shot 4K on disk and edited low res in PAL with Final Cut now we are doing the DI and transfereing to film negative.

I've spokent to people who have had problems but we had no problems because over time the bugs have been worked out. For example up until recently you might have problems if you recorded where there was to much vibration, but we were on a pullman and did not have thee problems.

Q: so the red it a cinema camera?

A Yes. But I repeat, it depends what you want to do, how you want to do it, If you wanted to film landscapes and wide shot vista's amybe the red just isn't quite there yet to give you what you are looking for.

But our very urban film made really for television, a television that doesn't exist, however it is cinema.

Q: Have yo heard about DSLR?

A. I have not used them, I have heard there are problems not in image captuer but in post production. They are very nimble but if you ahve to use them in a cinematic way...

Q. you have to build the world around them....

A. Yes and this can become a problem. You have to remember that the technology you choose can and will change the way you do things. You need to synthesize the story you are telling with the technology you are going to use.

This will always be true. You always are searching for that equilibrium.



David
Click to expand...
Thanks for the translation. Interesting read.... :emote_popcorn:
 
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