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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 :)

It's amazing what some professionals say about RED...

All it will need in the end is a bit of time and lots of Epics out there and this discussion will be over once and for all.

Smaller movies will use EPICs because it is the only thing that is affordable to them and after a while people might start asking why the 15 million production looks as good as the 80 million production (or according numbers).

You can't rush fame. You can just deliver and wait.

Buy the way, delivery dates? Anyone?

:) Couldn't resist...
 
HD magazine had an article a few weeks ago on shooting RED for documentaries, which re-iterates some of those 'popular' rumors. It starts by saying that "(when talking about RED) we hear mostly abut promos, commercials and a few movies". Yeah, sure, a few movies. Then of course a mention of the overheating rumor. Says that shooting RED is for those that can't afford film. "workflow seems unconventional to say to least (sic!). The standard lament that we heard when we went to a post production house (...) was '...could you shoot it on something else'". You are forced to use Final Cut if you want to work with RED files.

So, yes rumors do last v. long in this business. (Possibly more so in ad-supported magazines when they write about companies that do not use advertising...)

To be fair, a bit later the article becomes more nuanced, and giving a generally positive feeling of the R1.
 
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Mark Toia said:
Frogs...

As they say, "A little knowledge is dangerous".

Did they charge you tax for standing in one place for too long...

Have you tried shooting there in Paris ... you only do it once. You will leave with very empty pockets.
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Wow my respect for you just went through the floor.
 
Mark Toia said:
Frogs...

As they say, "A little knowledge is dangerous".

Did they charge you tax for standing in one place for too long...

Have you tried shooting there in Paris ... you only do it once. You will leave with very empty pockets.
Click to expand...
Mark, that was quite an offensive post in more ways than one. Besides, neither of the two people I wrote about were French.
 
Mark Toia said:
Frogs...

As they say, "A little knowledge is dangerous".

Did they charge you tax for standing in one place for too long...

Have you tried shooting there in Paris ... you only do it once. You will leave with very empty pockets.
Click to expand...

It's amazing what some professionals say... about anything.
 
Sounded like a joke to me... or exaggerated truth to the point of sarcasm. How about we give Mark this one and encourage him to post more jewels?

Jim
 
Jannard said:
Sounded like a joke to me... or exaggerated truth to the point of sarcasm. How about we give Mark this one and encourage him to post more jewels?

Jim
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humm .. man.. me thinks now U'r the only1 to get old gang's posts..
..& old SW's quote sig on here hehe
 
If this guy shot 4.5K at RC42 he would know it does resolve at 4K. With the SSD and MX sensor the R1 is still a great camera...and as David has pointed out the tools are even better now. I'm hoping there will be some new way to get even more from my MX in spite of the original processing limitations, but understandably the Epic is chewing up people's attention at Red HQ.

Two TV shows (a mini series and 13 ep drama series) are about to start shooting here and both are shooting with the MX. Since spring of 2009 virtually every project here has shot Red, and given our provincial tax credit being the best in North America one may rest assured that it's a big number.

We will be the first Epic features to go and I expect it will catch on like wildfire -the biggest issue for us is trying to justify the value of some manner of 4K display or projector...seeing natively is believing, and with Red Ray Pro we're headed in a positive direction...
 
The 3D advocates realize that RED has killed film, they hate RED for killing film. They need a new gimmick to stay ahead of the indies. The large studio's hope 3D and serving spaghetti will keep people away from their wide screen TV's. Time will tell. As Barnum said at the demise of the Circus, "The trouble is, the suckers is wise".
 
George Butterfield said:
The 3D advocates realize that RED has killed film, they hate RED for killing film.
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That's strange logic... you could just as easily argue that it's 3D that is killing film, not Red, because it's 3D production that has accelerated the decline of film. I wouldn't say that the 3D advocates and the love-film-hate-digital crowd are the same group of people, almost the opposite.
 
George Butterfield said:
The 3D advocates realize that RED has killed film, they hate RED for killing film. They need a new gimmick to stay ahead of the indies. The large studio's hope 3D and serving spaghetti will keep people away from their wide screen TV's. Time will tell. As Barnum said at the demise of the Circus, "The trouble is, the suckers is wise".
Click to expand...

Has it though? Film is far from dead, and for me personally it looks a thousand times better than Red ever will.

I just finished watching "The Mechanic", which was shot on film. It looks absolutely amazing. Even though the cinematography gives it a very stylized look, it looks really, really good. I also recently watched PoTC 4, which disappointed me with their choice of not shooting film. Well lit, shot well, but didn't have that feel to it that the other films had.

As for studio's staying ahead of indies....with all due respect, that is the stupidest reason I have ever heard. The reason studios are going 3D is because it can really only be viewed properly at this point in time in a theatrical setting. It's to compete with the internet and new media. A studio has never been in danger of being bankrupted by indie films. If they like an indie film well enough they simply buy it and distribute. And they can probably buy it for a tenth of the cost of making it themselves.
 
David Mullen ASC said:
That's strange logic... you could just as easily argue that it's 3D that is killing film, not Red, because it's 3D production that has accelerated the decline of film. I wouldn't say that the 3D advocates and the love-film-hate-digital crowd are the same group of people, almost the opposite.
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OK let's say there are those who hate the fact that RED has levelled the playing field and they are going 3D in an attempt to change the game.
 
Petri Teittinen said:
So no way can RED save 4K detail with such a low bitrate."
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But it can. That's exactly the beauty of REDCODE and the brilliance of Mr. Nattress.

Has this guy ever seen the difference between MPEG-1 and MPEG-4 at the same bitrate? Really efficient and intelligent encoding makes a world of difference.
 
George Butterfield said:
OK let's say there are those who hate the fact that RED has levelled the playing field and they are going 3D in an attempt to change the game.
Click to expand...

More strange logic. You seem to really want to make this about Red, people who allegedly "hate" it, and film, and the rise of 3D has little to do with any of these things. And, if anything, the studios are the ones who have really pushed 3D into theaters, and it has nothing to do with "changing the game." It has everything to do with pumping up the box office.
 
Stephen Strangways said:
But it can. That's exactly the beauty of REDCODE and the brilliance of Mr. Nattress.

Has this guy ever seen the difference between MPEG-1 and MPEG-4 at the same bitrate? Really efficient and intelligent encoding makes a world of difference.
Click to expand...

I think the guy was underestimating the bit rate of Red by a factor of 8 compared to just about any encoded HD camera.
 
Mark Collins said:
Has it though? Film is far from dead, and for me personally it looks a thousand times better than Red ever will.
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Really? I prefer Red honestly. I love the look. For me, Red looks 1000x better than film. I also think that DSLR's stomp 16mm in the face (as well as older film stocks from the 90's and early 2000's) look wise. Film is cool for nostalgic reasons I guess, but I don't think it has anything on modern digital formats.
 
George Butterfield said:
OK let's say there are those who hate the fact that RED has levelled the playing field and they are going 3D in an attempt to change the game.
Click to expand...

I still don't get the logic -- what's driving 3D... is a hatred of Red??? So that's why James Cameron made "Avatar" in 3D, because he loved film and hated Red? Makes no sense. The impulse towards 3D is not being driven by some repulsion away from Red. Nor are the studios "afraid" of low-budget independent production that happens to be shot on Red.
 
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