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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!

Concrete said:
Anyway, keep in mind that the boxer sequence was filmed in 2K windowed, which has an effective resolution which is noticeably lower than regular 35mm.
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That is true, but more crispy than film if shown digital projected.

If you show a filmout on the cinema from a 2k film(digitalized than back out to film), than it will look a bit soft on most cinemas. IMO a digital projecteded 2k footage woulde look more crispy than the film even if the native resolution is from a lower res. Most cinemas (analog) dont go above 1000 lines res. Of course if you show a digital presentation of a 35mm film than its a different story i guess.
 
I was there last night, as well. They saved Mark for last -- good marketing for the user group, if you ask me :)
Mark warned everyone that he simply didn't have the time to put all the footage in there that he would have liked, and that the LUT for the filmout hadn't been finessed either.
Once the film started, the first thing that struck me was -- no audio. Just the clackity-clack of a projector. In a humorous sense, it really emphasized all the negatives of using film to present an image.
Without the audio, there was nothing to draw me into the story. So now I'm remarking to myself how bad the gate weave is, and how annoying the projector-noise is, in the background. Uggh. If we shouldn't mix audio in that environment, why should we be forced to present a film in that environment?
But, back to the film -- it was fun looking for the tiniest details on such a huge screen, and finding them represented quite well. The fine hair on an actress' arm showed up with the same clarity as what we've seen on our computer monitors. No blurring from being uprezzed -- no sense that we were watching an "upgraded" image. Very clean. And the shots of the car at night were exquisite -- the streaking, reflecting lights in the black hood looked unbelievably clean.
But the color -- well, Mark warned us. In the process of being taken back to film, it seemed the saturation had dropped quite a bit, and so had the contrast. It looked very sharp, very clean, very large . . . and a little like video.
It just goes to show that movies are about workflow, and a break in the chain - anywhere - hurts the final results. Everyone knows this intellectually, but seeing it on the big screen was like a little kick to the gut. Note: no shortcuts for a final print -- could ruin everything.

Having met Mark twice, now, I can only say his honesty and enthusiasm is nothing short of contageous. He's the scientist over here, swaying the masses to take a fresh look at an old problem -- with the evidence to prove Red's approach. He's tireless, well-spoken, and generous. No doubt Off Hollywood will be guiding many Red projects through the straits of Production and Post.
Hats off to you guys.

Thank you, Mark, for sharing your experiences.
 
McDiver said:
Having met Mark twice, now, I can only say his honesty and enthusiasm is nothing short of contageous. He's the scientist over here, swaying the masses to take a fresh look at an old problem -- with the evidence to prove Red's approach. He's tireless, well-spoken, and generous. No doubt Off Hollywood will be guiding many Red projects through the straits of Production and Post.
Hats off to you guys.

Thank you, Mark, for sharing your experiences.
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Hah! that's how I got suckered in! Now, while you guys were all ooing and aaahing over footage, and being charmed by Mark, we were shooting a late night deep in the woods of Staten Island in the cold.

It's very surprising how this "particle splitter" as our AD puts it... (He's still very wary) is holding out. We are definately putting it through it's paces and the hardware is holding up.
 
Mark... one pic looks like AB mount batteries. Are you using a V-mount adapter or do you have a plate to wire in direct?
 
I will post more goodies tonight or tomorrow AM on this thread -

Today is shoot day 11 of 27 on Asylum Seekers - they are rockin the RED hard - shooting in the rain, in the woods, fast and furious - going WAY smoother than I expected -
 
are you using 4-5 red batteries per day? or less.And how much time does it take to charge the batteries. how long can you shoot with one battery?

Would be nice to hear a real world experience.
 
right. that's something I want to know. great work guys. sounds exciting.
 
I’m noticing that you are using Anton Bauer Battery packs. Did you have to modify anything to make them work? How long do they last compared to the RED packs?
Thanks:
Joerg
 
Aram Bauman said:
Good luck with the project. I saw all the Craiglist ads for crew for this and was tempted to sign up but I didn't have the time.
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That's too bad, because this crew is pretty bad ass...

As far as the AB batts, we're mainly sticking to red-bricks. Those are back-ups, because again, we are moving so fast. And we're using them less and less, as we're finding the battery life on the red-bricks to be pretty solid.

My question to you guys out there, is it surprising to you how rarely you're getting asked what you're shooting on? It's strange but I've had a lot of people assume we were shooting film... (at least until the head over to video village) Have any of you had the same experience?
 
This flick looks really cool - Is it completely indie or is their a small studio behind it?
 
rgdfilmsRED said:
This flick looks really cool - Is it completely indie or is their a small studio behind it?
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indie - 100% financed by private equity - no distribution (will not screen film until 100% complete and will most likely go the festival route) - it's VERY unusual - very clever script - IMHO director has a very BRIGHT future - she's impressing me - and that's not exactly easy -
 
It is a cool set to be on, and there are a lot of crazy and cool locations we're on. Shout out to Wilmot Kidd, the photographer on the shoot making these pics.
 
Yeah, I'm finally out from under the work now so if you still need any help I'm available.

Armagnac said:
That's too bad, because this crew is pretty bad ass...

As far as the AB batts, we're mainly sticking to red-bricks. Those are back-ups, because again, we are moving so fast. And we're using them less and less, as we're finding the battery life on the red-bricks to be pretty solid.

My question to you guys out there, is it surprising to you how rarely you're getting asked what you're shooting on? It's strange but I've had a lot of people assume we were shooting film... (at least until the head over to video village) Have any of you had the same experience?
Click to expand...
 
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