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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 :)

INDIES Shot on Red

Good content will always rise to the top. But everyone should get a chance to at least show there work. What do we have to lose over a few films with bad DP work in the mix. It will make the good ones stand out even more.

I have seen plenty of big films with bad lighting work too. life will beat the wheat from the chaff.

I don't understand this fear that people have of seeing material shot on RED that is sub par, There is plenty of sub par 35mm work out there.
 
The camera speaks for itself. It doesn't (and shouldn't) need the indie community to get the camera out there. I think it would be great if there was more promotion of the stuff that has already been shot with RED by S&J but by and large, true indie filmmakers won't gravitate towards RED because of buzzwords. They look for practical reasons to use it. I know a lot of truly indie filmmakers who would do wonderfully with the system once it is ready and I see many indie drones who want it simply because it makes them feel good to use it even though they know they aren't making something that will ever get seen by many people.
 
Here here! An excellent idea Mark.

Jay, I don't think we have to worry about that. Last year at NAB I sat in on a round table of DPs who seemed to have a fair amount of FUD that the low level indies would get ahold of Red. I don't think that's the case. To get Red functioning takes at least $25k. Heck, I'm into it for over $40 and that's with used Bogen tripod, used FF, matte, etc. So I don't think the "Home Depot Worklight" crowd will be getting this camera
 
Adam Levins said:
Good content will always rise to the top. But everyone should get a chance to at least show there work. What do we have to lose over a few films with bad DP work in the mix. It will make the good ones stand out even more.

I have seen plenty of big films with bad lighting work too. life will beat the wheat from the chaff.

I don't understand this fear that people have of seeing material shot on RED that is sub par, There is plenty of sub par 35mm work out there.
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Amen.

I rolled my eyes when I started this thread because I knew it would get hijacked into various opinions on indie films and filmmakers.

It does not hurt Kodak when people shoot bad movies on film stock. Kodak makes money.

Sony doesn't really care how many people make bad content on F900.

RED is a VERY new technology. There is a massive amount of mis-information out there - I talk to people every single day who say "I heard bla bla bla" and "I read bla bla bla" - and it's mostly WRONG.

People have no idea that right now, as I write this, there are a many indie feature films being shot on RED.

I know of more than a dozen in the can (or as I say, on the SAN) already ...

Just sayin ...
 
Shawn Nelson said:
Jay, I don't think we have to worry about that.....

.....So I don't think the "Home Depot Worklight" crowd will be getting this camera
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Why on earth would you ever worry about that?

Also, personally I think they WILL find a way if they want to. Apparently I'm one of the only people who doesn't think it's necessarily a bad thing if they do.

Before, I was never fazed by someone's ability to scrounge up some film, befriend a lab employee, buy some work lights and shoot on 16/35 for next to nothing. I'll continue to be unfazed and even encouraged by someone's ability to do so with the Red Camera.

I'm surprised at the elitist attitude here sometimes. Ironic.

The cream will always rise to the top. Anyone who wants to put false market barriers in place is clearly worried about not being creamy.
 
Offhollywood said:
A feature film produced without financing from a studio (Universal, Fox, Dreamworks, WB, etc. etc.) regardless of budget.
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As far as I remember the Academy set the number around just shy of $30 million to be considered independent, but I could be wrong.

I think George Lucas was trying to qualify his own mega-produced films as independent.
 
Dominic Cochran said:
Why on earth would you ever worry about that?

Also, personally I think they WILL find a way if they want to. Apparently I'm one of the only people who doesn't think it's necessarily a bad thing if they do.

Before, I was never fazed by someone's ability to scrounge up some film, befriend a lab employee, buy some work lights and shoot on 16/35 for next to nothing. I'll continue to be unfazed and even encouraged by someone's ability to do so with the Red Camera.

I'm surprised at the elitist attitude here sometimes. Ironic.

The cream will always rise to the top. Anyone who wants to put false market barriers in place is clearly worried about not being creamy.
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Nicely put. Let's not forget Clerks. If that script was shite everyone would have slammed the production value but because it had a spark it ushered/championed a style. The elitist attitude is really unnecessary. A good story (with decent sound) will always rule the day. An enthralled audience will always forgive the image. But isn't this really a bit silly anyway. I mean if a micro budget RED project gets some legs and notoriety, I'm sure RED will put it's poster up on their website. Otherwise isn't that what REDUSER is all about? Just post your movie here....
 
Guys,

Why not post the movie, or a trailer, or whatever and let people vote on it. A poll would bring the best to the top. The shite would sink and the truly dreadful might well become legend! Why just features, why not people's short films as well.

'Best Red short of the week' sort of thing or maybe a star system based on the votes and an archive of the favourite all time films etc. etc., would allow really good product to remain in the (Red) public eye for a lot longer.

A kind of independent electronic film festival?

Just an idea...:calm:

Mike Costelloe
 
I think some owners of RED tend to feel this need to protect RED from getting into the wrong hands. I don't even have one and I sort of feel that way too. Fine.
But seriously, that's not for anyone to say.
 
I would guess that some of the people worried about bad Red-made movies getting out there think that if the company gets a bad rep that fewer people will buy the camera and maybe the company won't last, preventing us from being the beneficiaries of their future brilliance.

Either that or they just identify themselves as being a part of this whole Red movement so when someone thinks poorly of Red they feel like they are personally being insulted.

Either way, the tech's too good for bad footage and false rumors to keep it down in the long run - the reality of what it can do will win out no matter what.
 
I think it makes a statement that MANY indies, good and bad, are shooting full length feature films on RED during a time when mis-information abounds.

Indies drive new technology.

We thrive on risk.
 
FUD hurts

FUD hurts

I don't think that the biggest issue is the success of Red Digital. The concern is that FUD will make it hard to get quality clients with actual budgets to choose the RedOne over other options. If there is a bunch of low production value RedOne sourced footage that anyone with a browser can access then it can be used as a club to keep the RedOne from being selected.

Obviously nobody can stop people from posting shoddy clips shot on RedOnes on the internet. Nobody can stop a guy with a F900 to pay off from showing that crappy clip to a producer or agency rep to keep the gig. BUT-

I do not think it services the RedUser community to make low quality RedOne footage easier to find via this forum.

Before the flames start, I am fully aware that talented people with small budgets can make breathtaking images with the RedOne (as well as other cameras). That said, high craft levels both during acquisition and grading are necessary to get the best out of the RedOne. Oh, and lighting is still the more critical variable.
 
Blair S. Paulsen said:
If there is a bunch of low production value RedOne sourced footage that anyone with a browser can access then it can be used as a club to keep the RedOne from being selected.
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The problem is that how you do you interpret a "good quality" footage. Most of the footage I have seen on this forum is acquired in those conditions that any good camera will give decent footage. And, Red is certainly a decent enough camera.

The parameters to judge the quality of a camera are not well-documented and perhaps not well-understood by casual shooters of a digital camera.

But, on the other hand, I do realize that there is perhaps no need to put rigor on judging the quality of a camera when it may not be operated by users under those conditions.
 
Blair S. Paulsen said:
The concern is that FUD will make it hard to get quality clients with actual budgets to choose the RedOne over other options.
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It's always hard to get quality clients with actual budgets. This business isn't easy. With that being said, normally the only discussion regarding what camera/format we use for a project is cost.

Quality concerns shouldn't be an issue because the client has already hired you based on your past work.
 
Offhollywood said:
Amen.

I rolled my eyes when I started this thread because I knew it would get hijacked into various opinions on indie films and filmmakers.

It does not hurt Kodak when people shoot bad movies on film stock. Kodak makes money.

Sony doesn't really care how many people make bad content on F900.

RED is a VERY new technology. There is a massive amount of mis-information out there - I talk to people every single day who say "I heard bla bla bla" and "I read bla bla bla" - and it's mostly WRONG.

People have no idea that right now, as I write this, there are a many indie feature films being shot on RED.

I know of more than a dozen in the can (or as I say, on the SAN) already ...

Just sayin ...
Click to expand...

Mark....I love the way you think!

Sorry to come in late; just wrapped another fun RED Day. It's as if you were reading our minds here. For the last week it's been clear to me that there is a tremendous disconnect between theory and the real world. Endless threads about the potential of effect for skew, IR filtration, blue channel noise, fan noise and yet people are using these cameras daily and producing amazing content and making money. I think almost anything can be armchaired to death, but the fact of the matter is, this camera rocks!

And RED needs to be more vocal in showing the community, and public at large, that this camera, in its first 6 months on the market, is doing amazing things. And not by the "big" names, but by small indie production facilities. Every day, this camera is being used to shoot commercials, music videos, short films, feature films, documentary and episodic television....the list goes on and on. Absolutely, we need to have a front page shouting to the world that the image is nothing short of amazing, it's being shot and edited daily and the success is enormous. Frankly, I don't think that the content quality is the issue; I, for one, would never be so presumptuous to say what stays and what goes, not after someone put their heart and soul into it. We would simply be a stage. I've already contacted our webmaster and the wheels are turning (see Mark, great minds run on the same track ;-) to make a block to showcase our customer's work. I'll try and set up a program soon where you can send in a link, a short testimonial, some background info and we can put a spotlight on all the awesome work that is going on out there.

Thanks RED Warrior!
 
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