EPIC, DR, HDR and stuff...

[Roberto Lequeux]

How likely is it that two Rockets will be able to run together by EPIC release?

And can we see a 5k sample knowing what REDCODE it was shot at? Please.
I know RC will keep it small and sharp, but it would be great to see it too.

 

[Ketch Rossi]

Always love news, but love even more the good news ;~)

While I'm literally counting days for the arrival day of my Epic-X's shipping out, I truly wish, and you don't know how much really, that we could have had the Epic 645 as well, this time around, so I din't have to put an other 50K on yet an other MF system just so I can shoot my still s with a 60MPM 645 sensor.

BUt we love what you guys are doing, no doubt, so we continue to wait patiently and figure out ways to move along with other gear in the mean time.

16BIt sure will be very NICE!!

 

[Steve Sherrick]

I would be interested in more DPs names than directors. Six names and only 1 1/2(Soderbergh) are DPs? Wouldn't it be more effective to name DPs e.g. Cronenweth instead of Fincher? Although probably good for marketing efforts I'd trust fellow DPs more than directors when talking about a camera.

The reason these names mean so much is that any of them could still be choosing 35mm film right now over digital. They have the power to make that choice. They have chosen to shoot on RED based on their own reasoning and I'm sure very lengthy discussions with their DPs.

I will say, it's not easy to ween veteran DPs off of film. And it's understandable too. Years and years of mastering a format like film, and knowing exactly how it will respond in all kinds of scenarios, there's a comfort level there. If anyone is going to get a DP to move away from their comfort zone, it's going to be a director like the ones Jim mentioned.

Jim, great to hear about the latest developments. Keep up the good work!

 

[Jon B.]

Excellent post. Thank you.

Hoping the gap between stage II and tattoo is a small one.

Thanks Jim!!

 

[Sanjin Jukic]

I would be interested in more DPs names than directors. Six names and only 1 1/2(Soderbergh) are DPs? Wouldn't it be more effective to name DPs e.g. Cronenweth instead of Fincher? Although probably good for marketing efforts I'd trust fellow DPs more than directors when talking about a camera.

In near future job of DP is going to get in a huge crisis

just because of affordable and easy of use digital acquisition tools.

Director will get its own way of using those new digital tools.

DSLR revolution is already showing that trend...

Also some of DPs are turning directors...

The things are always in fluxes and nothing there stay(s) still...

Exiting times are coming very soon...EPIC is a huge part of it...

1080p is gonna die pretty soon at professional world

or can still stay longer alive in schools, academies, home users,

consumers, even for a kindergarden movies made by kids, etc,...

 

[David Litchfield]

Does this mean upgrading to Monstro can be a sensor swap rather than buying a new brain?

David Litchfield

 

[Francesco Bonomo]

In near future job of DP is going to get in a huge crisis just because of affordable and easy of use digital acquisition tools.

I may be naive and maybe the near future will prove you right, but I believe knowing the tools is a very small part of what the cinematographer does.


disclaimer: I'm not a cinematographer

 

[M Most]

This is super exciting to me. 16-bit pipeline from camera to screen. FINALLY we have a very obvious reason to sell the client on a 16-bit finish and put a nail in the 10-bit LOG coffin.

Perhaps more importantly, it fits well with the IIF/ACES system, something which Jim has pre-announced support for (and having seen Red footage processed through that system it's no surprise to me that he would do that). As a present day reality check, however, I would also point out that the industry standard DCP is a 12 bit format, as are (I believe) both DLP Cinema and SXRD projection technologies. So the "to screen" part will probably have to wait for a while, at least if we're talking about currently existing theaters.

 

[M Most]

The reason these names mean so much is that any of them could still be choosing 35mm film right now over digital. They have the power to make that choice. They have chosen to shoot on RED based on their own reasoning and I'm sure very lengthy discussions with their DPs.

I can almost guarantee that even with JJ Abrams current standing, he would not likely get either the studio or the network to approve shooting a new television series on film no matter how much he might or might not want to. All of the other names mentioned are or have been involved with Red originated feature projects. That is not the case with Abrams, at least not to this point. All of his feature projects have been on film with the sole exeption of Cloverfield, which was shot on video because it was appropriate for the story being told. The project he is using Red on is a television series.

 

[Elsie N]

In near future job of DP is going to get in a huge crisis

just because of affordable and easy of use digital acquisition tools.

Director will get its own way of using those new digital tools.

DSLR revolution is already showing that trend...

Also some of DPs are turning directors...

The things are always in fluxes and nothing there stay(s) still...

Exiting times are coming very soon...EPIC is a huge part of it...

1080p is gonna die pretty soon at professional world

or can still stay longer alive in schools, academies, home users,

consumers, even for a kindergarden movies made by kids, etc,...

I tend to agree with this except in the mainstream movie-making world. I feel that the current generation of "Hollywood" movie-makers will have to give way to the next generation for these changes to happen. It's sort of like depending on oil for our energy. We know there are better ways to satisfy our energy needs but the infrastructure is so embedded into our society that it will take time to make the conversion to the better ways.

Indie movie-makers will adopt this new way of shooting and will affect the transition when they move into the mainstream. And those of us gathered here today will ask "Duh, what took you so long?"

 

[Christopher Nagel]

here is nothing wrong with a RED ONE M-X. Quite the contrary. It is the single most used camera in the industry right now. And no one is complaining about anything (except those trying to push it through an antique post pipeline).

I am still waiting for my Apple II to finish processing the first frame of my feature. Part of the time crunch is swapping all the dag-nab floppy disks... You're sure you can't do anything about this??

Chris

 

[Dan Gutt]

I went to a presentation on Alexa this week at Alternative Rentals.

Gorgeous camera, gorgeous German Design, nice pictures.

Direct Quote from the presentation:

"We designed this camera to meet today's production needs."

Whoops. Today quickly became yesterday, and then the day before that.

You have to throw the ball to where the receiver is GOING TO BE. Not where he is right now. Nothing like competition to help open people's minds though.
arty:

You only need to look as far as the iphone 4 to tell you how consumer resolution expectations can change overnight. I never once had an issue with the older iphone's resolution, but that was before I realized how green the grass could be. Check me if I'm wrong but at 326ppi, a screen the size of a (future) iPad would nearly outclass what the Alexa can acquire.

 

[Dj Joofa]

The director has always the last word on the subject matter.

I could be wrong but I think it's the producers who have the last word. Directors are given creative freedom, but that does not necessarily mean they own the film. Perhaps that is why you have these "Directors cuts" for one reason being if the "director's imagination" differed from the "producers vision".

Joofa

 

[Blair S. Paulsen]

Sweet Sixteen

Sweet Sixteen

Mike makes a valid point about the realities of getting a 16bit deliverable format out into the wild. That said, I am "geeked up" to have high resolution and high bit depth elements throughout the production-post pipeline. Even if my lovely 16bit master has to be downsampled to a 12bit (or 10 bit or 8bit) deliverable for current infrastructure, it still gives me a better master for the next generations of distribution technology, extended shelf life of the asset, etc.

Goodbye 10bit log DPX, hello 16bit OpenEXR, IIF and ACES!

Now, how about a modern codec that supports high bit depth, high resolution image formats at moderate bandwidths. I'm thinking the sweet spot is around 400MBs/sec @24fps/4K RGB for post work. Thoughts...

Cheers - #19

 

[Joe Carney]

Any info on anyone coming out with affordable 16bit display tech (card and monitor)?

 

[Steve Sherrick]

I can almost guarantee that even with JJ Abrams current standing, he would not likely get either the studio or the network to approve shooting a new television series on film no matter how much he might or might not want to. All of the other names mentioned are or have been involved with Red originated feature projects. That is not the case with Abrams, at least not to this point. All of his feature projects have been on film with the sole exeption of Cloverfield, which was shot on video because it was appropriate for the story being told. The project he is using Red on is a television series.

I should have been more specific. I was speaking about feature film production.

 

[Mark L. Pederson]

As a present day reality check, however, I would also point out that the industry standard DCP is a 12 bit format, as are (I believe) both DLP Cinema and SXRD projection technologies.

Yes - but a DCDM is 16-bit. And yeah - most folks are CURRENTLY making the 16-bit DCDM from a 10-bit LOG DPX sequence. But if I SHOOT in 16-bit, color grade in 32 bit float - I'd sure like to render in 16 bit - and preserve in the DCDM.

So the "to screen" part will probably have to wait for a while, at least if we're talking about currently existing theaters.

I agree - but "a while" goes by so very fast when it comes to technology. And just like I want to future proof my content in 4K resolution - I'd also like to hold my finished content in 16-bit.

 

[Tom Lowe]

I can't believe that people come on forums and make arguments for LESS quality.

 

[shashbugu]

Can we just please some epic footage. We have been waiting.

 

[Hrvoje Simic]

Is Epic's .r3d also 16 bit ?