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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 :)

Don Burgess, ASC

Jannard

Jannard

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"I was a bit skeptical when I signed on to shoot "Book of Eli" on the RED ONE so we did a side by side test next to an Arri 435. The results surprised all of us, including the producers, who guessed wrong which camera was which in the film print. The look of RED was perfect for this movie and the cameras were easy to work with and no trouble the entire shoot. I loved getting instant feedback from the r3d files and am considering using RED on my next project." Don Burgess, ASC.
 
High praise. RED ONE is a great product. So re-asurring to read comments like these!
 
I always thought that RED1 is the best digital CINE camera you can get and it will remain the same with M-X and also with any further sensor upgrade...
 
We failed the ASC CAS test (apparently) and excelled in this test. The difference? Proper exposure and grading. Our job is to create a more easy to understand (and execute) method for both. We are on it.

Jim
 
I can't wait to see the M-X RedOnes perform.

Nothing beats the RAW workflow. Looking forward to Jan 16th.
 
Sounds very familiar..

I was art directing a shoot, shot by a very prominent old school cinematographer who had insisted to shoot on film the entire time. It was shot on RED due to budget constraints against the wishes of the cinematographer. (He wasnt too happy either, he had never shot red). We did a filmout (which had to be transferred to HDCAM first nonetheless) and the results blew everyone away. He went and bought a redone shortly after!

RED transferred to film incarnates beautifully. Not that it matters ofcourse... Film isnt here to stay as a distribution format...
 
Jannard said:
"I was a bit skeptical when I signed on to shoot "Book of Eli" on the RED ONE so we did a side by side test next to an Arri 435. The results surprised all of us, including the producers, who guessed wrong which camera was which in the film print. The look of RED was perfect for this movie and the cameras were easy to work with and no trouble the entire shoot. I loved getting instant feedback from the r3d files and am considering using RED on my next project." Don Burgess, ASC.
Click to expand...

Very inspiring, I would say reassuring also but I don't need reassurance. Thanks for passing this along. If the old timers are warming up to R1 they are gonna get hot and bothered over EPIC. Keep your foot on the gas, your gonna be have everyone else so far in your rear view mirror that you won't even be able to see them in your dust.
 
Jim proud of his baby... again. :thumbup1:
 
Jannard said:
We failed the ASC CAS test (apparently) and excelled in this test. The difference? Proper exposure and grading. Our job is to create a more easy to understand (and execute) method for both. We are on it.

Jim
Click to expand...

Every camera system has it's own unique optimized method of operation. Its been clear to me that many people conducting "tests" don't account for this fact. The test regimen has two sides IMO, the empirical evaluations to find the operational limits of the hardware and a results evaluation to discern wether or not the images a particular system generates can overcome any perceived shortcomings on the hardware side. I stand by this with any camera system, not just Red, because I use all manufacturer's gear.
 
I think what is most cool about all of this, is all these films were shot on what? Build 15?

We havent even seen the major features shot with the new color science... and oh yeah, this is only RED's FIRST crack at a sensor... designed 3 years ago.

Got some sneak peeks at David Mullen's Manure (now titled Smell of Success) at REDUCATION and in a word, it was "BREATHTAKING"...

Can we all even imagine what DP's will think when Mysterium-X films hit the big screen? ... I know I can.
 
Tim Whitcomb said:
I think what is most cool about all of this, is all these films were shot on what? Build 15?

We havent even seen the major features shot with the new color science... and oh yeah, this is only RED's FIRST crack at a sensor... designed 3 years ago.

Got some sneak peeks at David Mullen's Manure (now titled Smell of Success) at REDUCATION and in a word, it was "BREATHTAKING"...

Can we all even imagine what DP's will think when Mysterium-X films hit the big screen? ... I know I can.
Click to expand...

I've thought about it. I was baffled to know that D9 was shot on B15, not even 16! And it looks great.

Great professionals can get great images of this camera. Not to touch all the "it could be easier" discussion, it already took place and it's being adressed.

M-X will be awesome indeed.

And I can't believe I'll be using the baby of the line-up. :biggrin5:
 
Just saw this article.

http://www.icgmagazine.com/wordpress/2010/01/06/the-red-planet/

It's funny how Don Burgess ASC, talks about the "desaturated nature" of the RED. I wouldn't even begin to think of questioning his expertise and knowledge, but it's always interesting to hear what very experienced cinematographers say about the RED and how they sometimes misinterpret how the RAW data works. The guy's brilliant so I should just really shut the f*ck up now...
 
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