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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 :)

OFFHOLLYWOOD'S first Red Feature Film & more!

jbeale said:
unless I am mistaken, the Igor Martinovic test was separate from the Brian Przypek shoot which used Arri Ultra primes. Seems like several different people have been using Offhollywood's cameras recently.
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Igor's test shoot also used Ziess/ARRI Ultra Primes. Yes, they are three separate shoots - but they happen to all be using Ziess/ARRI Ultras (which we love).
 
Great work guys.

Here's a little something...

...disclaimers for the clipped highlights from the lamp and native white points...:-)
 
Thanks Mark. The Igor stuff is really impressive. Looking forward to Wed.'s soiree. :)
 
Nice shots, Igor.

Also, useful to show what the REd can do.
 
I have a ticket to the Soiree, but I'll only be able to stay for a little bit and most important to me is seeing the RED to 35mm print projected. Do you know from when to when this will occur? I really don't want to have to miss it.
 
Noah@posnick.com said:
I have a ticket to the Soiree, but I'll only be able to stay for a little bit and most important to me is seeing the RED to 35mm print projected. Do you know from when to when this will occur? I really don't want to have to miss it.
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pretty much 1st up - after some sponsor introductions - I will present for 30 minutes -
 
Häakon said:
Wow, that "before" picture has wayy more gamma than the way it looks on my screen.

I hate that there aren't easier ways to standardize the display of this stuff... it seems to be radically different every place you look.
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The "before" picture doesn't originally look like that on my screen either .. I think it has something to do with the compression and color space output. Those should be optimize for monitors. But as you where saying.. bah
 
Igor_06_Shake_Color.jpg

(igor_06.tiff) After CC in Shake and Color.
 
Hey red-folk. I've been the tech on set with this baby, and it's been really pretty amazing to look at 4k on my laptop... Only one picture of me staring at histograms and checking footage and wrangling playback seems to have made it in, but pictures of looking at a screen aren't don't really make good copy.

I think all I can say without Mark killing me, is that it works. The workflow is there. There are a few small bumps, and the thing is that they loom a lot larger because this production is a full-speed New York indie. However, these small bumps, are feel so much easier to deal with than comparable film problems, and the ability of playback is huge.

You guys gotta understand, this is a production where we're moving so fast that the minute spent rebooting the camera on battery changes is one of the hard barriers we're hitting. It's a minute and a half every two hours, and we feel it, time is such a premium on indie productions like these.

They've been dubbed "Red-Alerts!" by the crew, because of the bright red text that some times show up on the monitor when the battery is critically low.

The glory of HD-Monitoring is something that the Gaffers, Make-up, Costume, etc... is *really* paying off, and it's something that usually isn't available on indie features like this.

I still can't believe this thing is real, and now, I'm starting to hit the things that I wish were perfected, and the snags of the 1.0 release. But to be honest, HD cameras are 10 to 20 times more difficult and pain in the ass to shoot with, and honestly, the varicam and the f900 simply can't hold up to these shooting situations, where every second counts.

The red on the other hand? it holds. It's pretty damn solid for a freaking 4k camera.

And I have no Idea how the hell red-code scrunches 4k that small visually losslessly.
 
Armagnac said:
You guys gotta understand, this is a production where we're moving so fast that the minute spent rebooting the camera on battery changes is one of the hard barriers we're hitting. It's a minute and a half every two hours, and we feel it, time is such a premium on indie productions like these.
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Thanks for the inside view on the Red set! good to read.

I wonder if it would be possible to rig something that would charge the battery while it is still running the camera, to avoid the bootup stage. You could use it whenever the camera doesn't have to be mobile, you'd just plug the charge cord in and run up the battery charge for however long you have. ...I think this is something Red would have to design, though, I wouldn't want to damage the camera's power inputs by overvoltage.
 
Some more practice...
 
any chance you can hook up a double block type batt to RED when it is sitting on dolly or sticks ?
 
saw these clips- film-out at the event tonight in NY with offhollywood and it looked like a regular movie. which is a compliment. The screen was big though and I guess I should've sat farther back- it did seem a bit blurry to me.

That boxing clip looked amazing. It didn't look all grainy though like the image above. I didn't notice any grain.

IMHO, it was just a film version of the RED. I think we can all learn something new from that - that one can go film out if you want, but I wouldn't want my RED movie to be shown on film. a DLP or 4K projector would suit better.

then again, whatever, right?
 
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