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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't forget...

Meryem Ersoz said:
if EFP shooters could have EFP modules and cine folks could have cine modules...
Click to expand...

I will say it again.. i like the direction feedback has started to head.. this is exactly the kind of input we want to hear.

This might be worth someone starting a dedicated "my perfect module" thread that i will make a sticky.... everyone gets to draw out their perfect modules.

It is a really good time to throw out what you guys want to see come out of the gate...
 
Jarred Land said:
I will say it again.. i like the direction feedback has started to head.. this is exactly the kind of input we want to hear.

This might be worth someone starting a dedicated "my perfect module" thread that i will make a sticky.... everyone gets to draw out their perfect modules.

It is a really good time to throw out what you guys want to see come out of the gate...
Click to expand...

OK, Jarred, here it is:

http://www.reduser.net/forum/showthread.php?p=352184#post352184

I'd be interested to hear what others come up with.
 
While speciality modules are a fine concept I would be remiss if I did not point out that cine style vs EFP is more about approach, situation, accessories and typical camera support than i/o or power plugs. BTW - SD downconverters are the devil's spawn, and, fortunately, I am pretty sure Jim lacks interest in looking backwards.

I also feel compelled to point out that a stripped down rig can be just as critical for certain shots on the biggest productions as it is for run and gun or doco work.

I consider myself one of the convergence shooters that Gibby refers to and my biggest wish for the form factor options on the new rigs is ergonomics for hand held. What is the average amount of time it will take me to change lenses and re-balance the rig - that matters. Yes Virginia, I use primes for hand held work. I know most people assume hand held means a zoom but that's a choice, not a requirement.

While I'm at it I really like a bottom side solution that allows me to go from tripod to shoulder fast and easy - I bring that up because I believe that a more elegant solution that puts the shoulder cutout amidships would rock hard. I am not a big fan of the VCT-14 (its a Sony tripod interface plate that has attachment points both fore and aft of the shoulder pad if you are not familiar) but a better execution of the concept might be just the ticket.
 
weigh to go Blair

weigh to go Blair

Now that would be a module: 2 point light weight tight locking no play quick release from crane/Steadicam/hand held pad/dolly/sticks just think of all the extra bottom module pieces RED could sell.
 
I'm in love with the Arri 416

I'm in love with the Arri 416

... I feel like calling up Red One and saying I've met someone.

But seriously... as much as I love my Red, I did a camera test this weekend for a feature with a couple cameras including my Red and a 416. My first time with the 416 and I have to say...

Dear Red Team,
If you haven't taken out one of these cameras loaded it up with film and put it on your shoulder, glanced at your light meter and shot something, then you don't really know what you are up against. It's a truly magical camera.

I know, I know, film is expensive, 4K is more rez than Super16, the epic will boot faster because it has ASICs etc. But I'm looking at the sexy Epic renders with all the modules and just thinking... don't forget that the core of what is needed is a camera one can forget about.

Much love and respect,
I.Bloom
 
The 416 is an incredible camera... no question about it.

Jim
 
416 has spot on ergonomics in my book. Not that many of them have made it to Hollywood, rental houses are bracing for the digital invasion I guess. ( or still trying to pay off those stinky top-heavy flat bottomed SR3's )

Matt Uhry
www.mattuhry.com
 
I know the 416 (S16) does 75fps but I don't know the price... anyone?

Jim
 
model-comparison.jpg

Arriflex 416 Plus HS 1-150 fps, weight 5.8 kg/12.8 lbs.

Price: approximately € 42.000 or about USD 60.000.
 
Liam Hall said:
I think Jim was being ironic:)
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I know that but we should know that reality of wider accepting RED1 in

Hollywood productions at the moment is a bit ironic too :).

Give you three examples from the following films that also there could be

shot on RED1 but they were not for a certain reasons and now running for the major film awards.

Box Office of total gross this week, January 5, 2009:

1. The Curious Case of Benjamin Button, US$79,011,000 shot on Viper/Thompson

2. Slumdog Millionaire, US$28,778,672 shot on SI-2K with IMS mount.

3. The Wrestler, US$1,756,112, shot on Arriflex 416, Zeiss Ultra Prime Lenses

LINK>>>
 
I wouldn't put "The Wrestler" in that list - clearly the Super-16 format lends a specific gritty non-digital look to that movie, whereas if "Benjamin Button" or "Slumdog Millionaire" had been shot on RED ONE's instead, they probably wouldn't have ended up too different (though the mobility of the SI-2K created a lot of the energy of "Slumdog", plus a low profile in the location).

But pointing out three movies made by very independently-minded directors (Fincher, Boyle, Aronovsky) doesn't necessarily mean that now Hollywood is comfortable with shooting on digital unless it is a heavy greenscreen movie like "The Spirit".

In fact, the digitally-shot Adam Sandler comedies are probably better examples of the movement in Hollywood towards digital acquisition for mainstream projects that are not efx-heavy. In some ways, it's perhaps more revolutionary when a forgettable movie like "I Now Pronounce You Chuck & Larry" is shot digitally and no one notices and no one cares...
 
Just based off watching the trailer in 1080P, Super-16 was a great choice for "The Wrestler". I can't wait to see it when it has a wider release.

Red is a great alternative for many productions, and for most productions it could be the best choice. But Red isn't the best choice for EVERY movie out there.

That being said, I'm completely blown away by what Red has accomplished. Their camera(s) are a great alternative to film.
 
David Mullen ASC said:
I wouldn't put "The Wrestler" in that list - clearly the Super-16 format lends a specific gritty non-digital look to that movie, whereas if "Benjamin Button" or "Slumdog Millionaire" had been shot on RED ONE's instead, they probably wouldn't have ended up too different (though the mobility of the SI-2K created a lot of the energy of "Slumdog", plus a low profile in the location).

But pointing out three movies made by very independently-minded directors (Fincher, Boyle, Aronovsky) doesn't necessarily mean that now Hollywood is comfortable with shooting on digital unless it is a heavy greenscreen movie like "The Spirit".

In fact, the digitally-shot Adam Sandler comedies are probably better examples of the movement in Hollywood towards digital acquisition for mainstream projects that are not efx-heavy. In some ways, it's perhaps more revolutionary when a forgettable movie like "I Now Pronounce You Chuck & Larry" is shot digitally and no one notices and no one cares...
Click to expand...

David,

probably you right about that but also you are in US, me in Europe and

I cannot observe all the thing closer and better than you anyway :) .

But if I go online I've got impression that professionals were not good

informed or they were missinformed about RED value in general or even maybe sometimes they are taking the sides...

Just to give you an example of the following and for my point of view a sort of "set up" interview:

"Darren Aronofsky (director of The Wrestler) Interviews Danny Boyle on The Tech of Slumdog":

boylearonofskyinterview-440x239.jpg


Danny Boyle: "SI-2K...it gives you the same kind of resolution as a RED..." (LOL) :) .

Darren Aronofsky: "RED it's a big camera and your thing (he means SI-2K)...(he is showing with arms something smaller)" (LOL) :) .

Interview >>>

We should not be so "stupid" or "smart" to see that they are actually "playing" or they are the players in this interview

(in which game we don't know or even though we should know it).
 
Whatever,

and as we know that RED now is trying to get "smat" design with a mobile (and upgradeable) brains too,

but I'm still waiting that they finally "certify" or "refuse" use of IMS that has got a

quite good reply in the last issue of American Cinematographer:

2K_Mini_Slammdog1.jpg

Taken from the text "Rags to Riches" by Stephanie Argy,
American Cinematographer 12/2008, Page 52-53.

With a big hope that RED would finally get an idea of importance and usabilty of this extraordinary mount.
 
60,000 is actually tempting. Unfortunately I don't think an owner operator could recoup the loss on 16mm in this day in age, better to buy a used XTRprod.

"RED it's a big camera and your thing (means SI-2K)...(he is showing with arms something smaller)"

I think the comments about the size of the Red that Aronofsky is making are probably because he's seen the camera all built up like it often is. It's like hot rod culture every guy has to have his stuff all tricked out all the time. Never mind you can stick a CF card in it, and put a battery plate on your belt and shoot with just a lense and a top handle maybe.

I guess the most interesting or important thing to me about the Epic is that essentially on a dual sound shoot you should just be able to shoot with the brain, a CF card and a battery. If that's really the case then it seems like a great camera. All the other modules are for when your phoning-it-in-on-a-greenscreen-commercial-with-a-video-village-full-of-starbucks-sipping-ex-sorrority-marketing-chics.... I'm sorry I think I just had a day-nightmare about my career...

Which leads me to something important that I've been thinking... Do I need the I/O module to jam sync the Epic brain to a sound recorder?

I.Bloom
 
ibloom said:
All the other modules are for when your phoning-it-in-on-a-greenscreen-commercial-with-a-video-village-full-of-starbucks-sipping-ex-sorrority-marketing-chics.
Click to expand...

Bloom you better start finding that attractive if you wanna get ahead in shooting commercials.

Shades of Milk Girls? :innocent:
 
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