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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 :)

First Clip from Crossing the Line

very exciting! that bit looks really GREAT!

sorry if this has been asked a million times...but are you guys ever planning on releasing the whole thing? or release the full-res version?

i have an amazon S3 hosting account that does free bittorrent...which would makes bandwidth a non-issue...i'd be happy to host it or PM me and i can tell your guys how to set it up...it's really easy.

also, any way we might be able to get a few RAW frames to check out as well?

very...very...exciting.
-hungry
 
I live in the mountains and only get dial-up
this thing is going to eat all my bandwidth for 12-14 hours
I can't wait
 
blownapartstudios said:
I live in the mountains and only get dial-up
this thing is going to eat all my bandwidth for 12-14 hours
I can't wait
Click to expand...

At least you have a nice view to look out too :)
 
ooooooooh

Just got to 100% and had three customers walk into my shop. I made them all wait while i watched it four times with headphones on. I'm so gonna loose my job.....

Gotta love the exchange rate - RED is only gonna cost me 16K with the zoom and all the add-ons i need! That's why they call it GREAT Britain.

David M Reynolds

Realm Pictures
 
There's a certain reality in this footage that I don't feel even in film. It looks good, I'm sure the 4K projection would have been scary good. It's like you are actually there. Of course there isn't an obnoxious grade on it either.
 
The footage looks fantastic. 4k is really going to be something.
But is anybody going to post something about the sheer pointed by Obin and others?
 
WesVasher said:
There's a certain reality in this footage that I don't feel even in film. It looks good, I'm sure the 4K projection would have been scary good. It's like you are actually there. Of course there isn't an obnoxious grade on it either.
Click to expand...

Ahh the new era of film making Ill say. Collateral, Michael Mann's Vipercam heavy movie was something like it. The big difference is that Collateral screams digital video while this footage of red is something totally different and something new. Love the look. Im pretty sure you can "fake" the look of most movies out there with this camera. If you have the skills that is.
 
Fix said:
Ahh the new era of film making Ill say. Collateral, Michael Mann's Vipercam heavy movie was something like it. The big difference is that Collateral screams digital video while this footage of red is something totally different and something new. Love the look. Im pretty sure you can "fake" the look of most movies out there with this camera. If you have the skills that is.
Click to expand...

I loved Collateral and the HD didn't bother me one bit (the story distracted me) so a 4K aquired Mann film would be pretty sweet I think.
 
WesVasher said:
so a 4K aquired Mann film would be pretty sweet I think.
Click to expand...

That I truly agree to. I was quite sad when Mann went to the digital world, Thats because I love the 35mm analog look and I dont think Viper can stand up to it. Than again I strongly belive Red will do a much better job. Only after whatching the stills and the footage by now im quite sure of it. I know bold statement. :matrix:
 
Fix said:
Collateral, Michael Mann's Vipercam heavy movie was something like it. The big difference is that Collateral screams digital video while this footage of red is something totally different and something new. Love the look.
Click to expand...

Viper was only one of four cameras used in Collateral and it wasn't used as much as you believe. I think what screams video in Collateral might me the use of the F900 Cinealta.
 
Astounding footage! I feel vindicated in tying up the line for nearly an hour to watch 23 seconds of moving pictures.

I agree the shake is wrong, but I think I know why. Back in the 80s I had the rare privilege to shoot events at the Canadian Army Trophy held in Germany. This is a tanker competition, with the main guns going off all the time, and even from a distance you felt the cuncussion. Our camera (an old Ikegami, used primarily for ENG work) was firmly mounted on a tripod, and sandbagged for stability. Even so, it jumped every time the guns went off.

Motion blur was missing, as has been noted earlier, but the angle of the shake was wrong. On hand held footage (we had a lot of this) the camera jumps up and down, it does not zoom in and out (at least not much) like was shown in the PJ short.

Another missing element is that the actors should react to a near impact. Concusive force pushes the players off the ground slightly, and then they recover their equilibrium. I know this from bitter experience; while sitting in a concrete bunker while a remotely detonated 50 lbs shell was set off (about 150 meters away), and I lost my footing. I can only imagine what the trenches at Verdun where like, but the men in the trenches must have been falling all over themselves due the ground's constant bombardment.

Even if we cannot articulate it, we can look at the footage an know some element is missing in these hastily added post effects. The audience at large would probably never notice it, but here we have a forum of DPs and Videographers which get paid well for having a fine attention to detail.

Personally, for the time PJ was alloted for this little project, I think he and his team did an outstanding job. As a "proof of concept" it soars beyond my wildest dreams. Red has raised the bar in digital cinema; everyone else has to catch up, and they have a long way to go. This camera is going to define a whole generation of movie making, and redefine the expected level of quality.

I welcome this future. It is truely going to be amazing.

Bob
 
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