Welcome to our community

Be a part of something great, join today!

Log in
  • 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 :)

Journey in Manila - Gibby!

jimhare

jimhare

Well-known member
Joined
Sep 5, 2007
Messages
3,768
Reaction score
0
Points
0
Age
59
Location
Sydney Australia
Shout out to Steve Gibby, :sifone:

Just got back from the U.S., where I picked up Journey In Manila on DVD. Looked for a BluRay but couldn't find one.

Been looking forward to seeing it since you first mentioned it last year.

Great job Steve et al, really nice. :hurray:

Was hoping to see a great bonus feature showing all of you setting up the shoot but no go. :embarassed:

Might be shooting 13 Reds at an even next month so we may try to beat your LIVE CONCERT record down under! You should come down and join us!

(note - not talking about feature films or commercials here, just live concert shooting.)

All the best,

Jim
 
I think George Lucas has you both beat, there were 18 Canon 7D's used in the opening dogfight scene of Red Tails, in theaters this summer.
 
Gotta divide the number 7D's by 5 because they capture less than a fifth of the resolution.

Graeme
 
Graeme Nattress said:
Gotta divide the number 7D's by 5 because they capture less than a fifth of the resolution.

Graeme
Click to expand...

To be fair though, it's gotta be hard fitting a RED One, let alone multiple RED Ones inside a WWII era fighter, whereas a 7D is probably a fifth the physical size...

A fair trade off when there aren't really many alternatives (until Scarlet et al hits) one would think
 
They got Boris (or was it Natasha) inside a WW1 plane just fine...

And as you rightly point out, that's why Epic and Scarlet are smaller than the RED One.

But if this cult of "good enough" goes on much further, we'll be watching movies shot on an iPhone and told to enjoy the cinematography or shut up :-)

Graeme
 
Ooof... I'd be afraid of the jello-effect of a 7D inside a fighter.

But maybe they were careful with shots and movement.

-sc
 
Bob Gilles said:
I think George Lucas has you both beat, there were 18 Canon 7D's used in the opening dogfight scene of Red Tails, in theaters this summer.
Click to expand...

I think I remember hearing about a 50 something (don't remember the exact number, I just know there were a lot) Red shoot in India. I'm pretty sure George Lucas can't beat that.

I'm curious to see how the 7D footage will hold up. It'll definitely be interesting. And I have a feeling the 7D's rolling shutter won't be nearly as bad as the acting if its anything like the Star Wars Prequels. :puke:
 
Bob Gilles said:
I think George Lucas has you both beat, there were 18 Canon 7D's used in the opening dogfight scene of Red Tails, in theaters this summer.
Click to expand...

That's interesting. With the amount of jello that camera has with the slightest pans I can't imagine what it will look like attached to an aircraft.
 
But that was a TVC, and Lucas was a film. We're talking about using Reds in a live concert setting, not the largest number of cameras ever used in a shoot.
 
jimhare said:
Shout out to Steve Gibby, :sifone:

Just got back from the U.S., where I picked up Journey In Manila on DVD. Looked for a BluRay but couldn't find one.

Been looking forward to seeing it since you first mentioned it last year.

Great job Steve et al, really nice. :hurray:

Was hoping to see a great bonus feature showing all of you setting up the shoot but no go. :embarassed:

Might be shooting 13 Reds at an even next month so we may try to beat your LIVE CONCERT record down under! You should come down and join us!

(note - not talking about feature films or commercials here, just live concert shooting.)

All the best,

Jim
Click to expand...

Thanks Jim! For that Journey production we had a great team of professionals from California, New York, Florida, and the Philippines. Glad you liked the DVD. The footage in that standard DVD is a bit noisy, but the action, audio, etc is very good. As you'd expect, the BluRay version is very clean and noiseless. It should be released shortly. For that version the editors were able to re-process the footage using a RED Rocket™, RocketCine X, and then some advanced editing applications. I believe an HDTV program of the concert has also been edited and will air sometime this year.

Just last weekend in Seattle I worked with what was nearly the same crew on a 7-Red camera production of the classic rock band Heart, with special guest Alison Krause, in concert at Paul Allen's EMP venue. The crew pulled together as one, and I feel this new DVD, BluRay, and HDTV program will seriously open some eyes to the possibilities in Red multi-camera live music production. As with Journey, the Heart gig was produced by Dan Barnett of Wizard Entertainment. We used some historic cameras on the Heart gig: my Red 0008 and "London", Blair Paulsen's Red 0019 (which Blair used stage front), and another city-named camera, "Memphis". Beyond my DP work, I used a prototype Red Bomb EVF to shoot with on my stage front shoulder held camera. The Bomb EVF is a seriously cool tool - lightweight, crystal clear, and accurate. I'm excited to take delivery of a shipping version of the Bomb EVF sometime soon.

Next up for this music crew is Garth Brooks in Las Vegas, followed by a series of top-name music artists later this year and into next. In pre-Red days (2002) I also executive produced and directed a 10-camera production of Three Dog Night in concert at Las Vegas. I'm about to get to work editing that production, up-rezzing it to HD, and hopefully releasing it on disk and HDTV.

Though Journey, Heart, and these future music productions are hardlined to a control room, and in some cases live-switched to an IMag big screen at the venue, the actual show is created in post, thus technically the productions are both hardlined EFP and non-hardlined EFP in techniques and field procedure. Hardlines were 720p preview out, time code, and intercom - but each camera recorded to its onboard drive in 4KHD.

Shortly after we did the 10-Red camera production of Journey in Manila, Red User member Nate Weaver directed an 11-Red camera production of Green Day in concert in Oakland.

Looking ahead, I see a lot of multi-camera music production being done with the new Epic and Scarlet cameras. The smaller size, higher frame rates, lens choice possibilities, and hardline-friendly features of those cameras should make them serious tools for a wide array of genres, naturally including live multi-camera production.

I'd love to come down to Oz whenever possible! Been there many times and loved it...
 
Nice to hear bomb EVF prototypes are in the field. I am trying my best to get one into my budget for Scarlet Cinema.
 
Dave, if you can get the Bomb EVF into your budget it would be money really well spent. Beyond its excellent electronics and diopter, the small size is a major plus for mobile production. It worked perfectly with Red One in Seattle, and having briefly tested it out on Epic at Red Studios on 1/16, I know it will dance extremely well with the Epic and Scarlet cameras.
 
If I have to choose one or the other, I would rather have a good EVF than an LCD. How is it for critical focus by eye? How about in low light conditions?
 
Steve Gibby said:
Just last weekend in Seattle I worked with what was nearly the same crew on a 7-Red camera production of the classic rock band Heart, with special guest Alison Krause, in concert at Paul Allen's EMP venue.
Click to expand...

As an aside, I was the Online Editor for Heart's "Alive in Seattle" DVD a few years back. Holy god-damn - THAT is what musicians want to be when they grow up.

The acoustic section in the middle where just Ann and Nancy play and sing is about the most amazing live performance I have ever seen. It takes big balls for a band to cover Zep classics, and on "Battle of Evermore," Ann isn't even trying when she's singing. And the delay feedback stuff she does at the end - just jaw-dropping. I'm getting goosebumps just thinking about it.

Gave me huge huge newfound respect for them as musicians.

Lucas
 
David Rasberry said:
If I have to choose one or the other, I would rather have a good EVF than an LCD. How is it for critical focus by eye? How about in low light conditions?
Click to expand...

It is extremely crisp. All focusing I've done with Red One has been by eye. I've always found critical focus in 4k to be very workable by eye using the original EVF and even the LCD at apertures down to 2.8. For this Heart gig with the Bomb EVF I was shooting at 2.8, and naturally focusing by eye, and it was very easy. There were naturally low light areas in the corners of the frame on certain shot sequences, and the detail definition was still excellent.

Bottom line: the Bomb EVF has the potential to be the very best EVF I've used in my career. This was a prototype I used, and I'm guessing that production units will be shipping sometime soon.
 
I totally agree Lucas. The members of Heart are superb musicians, consummate professionals, and Ann Wilson's vocals are spectacular. It was also phenomenal for this gig to have guest star Alison Krause (winner of 28 Grammy Awards) singing some vocal duets with Ann Wilson. As a Hawaiian would say "Gives me chickin' skin braddah!"
 
You must log in or register to reply here.
Back
Top