- Thread starter
- #101
Andrew Burhoe
Well-known member
James,
Film schools as well are going nuts. I wonder how FSU is dealing with it? Last I had heard was they have a lot of RED cameras and I can only imagine the project sizes. At Ringling we only have two R1MX (which we upgraded from R1) an Epic and Scarlet. On the Epic short I shot which had both R1MX and Epic RAW all on the same timeline end up being close between 10TB with just Raw and 20TB after project. I feel for those who worked on Prometheus.
Your ideas to me don't seem hard to get. I just never liked the touch screen or any monitor that is if I am operating. The distractions of a monitor blocking my view sight (left eye) and my camera sight (right eye) are annoying. With he EVF I got one for looking ahead and the other on picture. To many they love the monitor and I find that haphazardly lazy. To each their own. what I would love is to have a monitor and EVF at the same time. But then again I am one who likes to operate/pull focus. I feel more in control of the image. I trust my puller, but I know what I want and what the director wants.
The Epic in its own right is kind of like playing the PS3 for the first time when you have been playing Wii. Or vice versa. But I read that facebook post and dear god are they ignorant to change. That is how I would describe the Epic. The camera itself is a change in how many will work. So for them to be like Screw it is bogus to me.
Now the film schools with RED cameras that have producers coming to the school to visit I know for a fact see the REDs they have. They love them and do ask about the workflow on set and during post. When say well I was cutting two 5 minutes each with 10 set ups while the second half of production is going surprises them. They ask well do you have this tower and this graphics card. I tell them no. I am working with a low-res quality simply to conserve laptop speed and then when I back to campus I can move the project to the powerful equipment and continue working without an issue. Showing the workflows you create to make things fun faster is a good way to show you can or anyone can do this. You may need at least $100,000, but it can be done. I had the great honor of meeting Werner Herzog for three years. On his first visit he talked about the film My Son, My Son, What Have Ye Done? and how he was not a fan of the RED. Okay this was the days when you needed frozen food packets to cool the sucker down. That was fun. Also he is a celluloid fan. That must be stated before anything else. He goes up to the R1 we have set up and covers the monitor with someones beanie. He says that is one of the reasons he hates the camera. To his point he is right. Less and less my generation mostly do not trust their eye and go for the monitor. How in the hell is the monitor going to let you know that you are 12ft away and need to focus to the man 25ft away while keeping it on him as you walk through a crowd, but whip it back to someone at 5ft? A monitor fails you every time. Also he didn't like the 90 seconds of death turn on. No one did. But the Epic has come a long way since then.
Contacting editors is more of a nightmare. Well not to say it can't be done. I say editors are like boulders. It takes more than one person to move them unless you got leverage. Someone like Walter Murch was a walking soundbite for Final Cut Pro. That's what you need. Someone of serious recognition. You mentioned that for camera operators and assistants. Well many editors will go on and I've gotten into headed debates on this. But it always came down to this, "Well when I was your age I worked with film." I have never shot on film. The closest was DV and HDV. But now many around my age are and have shot all digital. So we don't know the luxury of shooting with film and cutting reel to reel. The reailty is that editors deal with so much shit from new codecs with no play with play them back or not having the required hardware or tapedeck or whatever it may be. Enevitibly they shut out the idea of using a said codec. Many I talked with thought the R3D files were too large and had no way to work with them. I asked had he looked into purchasing a RED Rocket. He laughs and says that doesn't help. **For anyone who works with RED we all know it helps** And so many are unwilling to change and you can only change those who are willing to make art or commercial success with the intent of being fluent in many different formats, codecs and even different editing platforms with many different workflows.
As for camera guys. Well they are pissed off and I don't blame yeah. It's like if you had to start driving manual this second after driving automatic your whole life. It sucks and it's hard, but eventually you can do it. It's like speaking more than one language. It can be done, but not all will do it.
As for this film look. How many different looks are there? The Godfather looks nothing like T-Men which looks nothing like Babel which looks nothing like Hair which looks nothing like Inception which looks nothing like The Battle of Potemkin. You may be wondering what I'm saying. No look is the same. So which damn film are you trying to reference? Hell Tarantino has his style and look which is safe to say has its roots from Exploitation of the 70s. He says he steals from every film ever made. In short he is just saying I love film. Meaning films shot on film. He isnt a fan of digital movies. Me I see it like some who say who gives a shit. If the film calls for an iPhone use an iPhone. When I try to shoot I learned that over time you gotta light to the damn RAW sensor and then when in Color tweak the settings to look you want for post and then be set. I found that doing this helped give the director a talking point and then we could tweak this. And over time she saw what I was doing. It helped. I mean Traffic is so fucking gritty, yet you can do this with the Epic by dropping it to 18:1. It will be noisy as can be, but look oh so cool. Really people want to look like their heros and instead of finding what they like. I love the conformist, but I won't be able to create that film look so why not steal the symmetry of it? Why not steal the emotional and psychological lighting of it? That is something I purpose to anyone doubting any digital camera, Do you have to have it look like this film?
Hopefully this relates to your post. But I think that what you posted is on the money. This is also my opinion.
Film schools as well are going nuts. I wonder how FSU is dealing with it? Last I had heard was they have a lot of RED cameras and I can only imagine the project sizes. At Ringling we only have two R1MX (which we upgraded from R1) an Epic and Scarlet. On the Epic short I shot which had both R1MX and Epic RAW all on the same timeline end up being close between 10TB with just Raw and 20TB after project. I feel for those who worked on Prometheus.
Your ideas to me don't seem hard to get. I just never liked the touch screen or any monitor that is if I am operating. The distractions of a monitor blocking my view sight (left eye) and my camera sight (right eye) are annoying. With he EVF I got one for looking ahead and the other on picture. To many they love the monitor and I find that haphazardly lazy. To each their own. what I would love is to have a monitor and EVF at the same time. But then again I am one who likes to operate/pull focus. I feel more in control of the image. I trust my puller, but I know what I want and what the director wants.
The Epic in its own right is kind of like playing the PS3 for the first time when you have been playing Wii. Or vice versa. But I read that facebook post and dear god are they ignorant to change. That is how I would describe the Epic. The camera itself is a change in how many will work. So for them to be like Screw it is bogus to me.
Now the film schools with RED cameras that have producers coming to the school to visit I know for a fact see the REDs they have. They love them and do ask about the workflow on set and during post. When say well I was cutting two 5 minutes each with 10 set ups while the second half of production is going surprises them. They ask well do you have this tower and this graphics card. I tell them no. I am working with a low-res quality simply to conserve laptop speed and then when I back to campus I can move the project to the powerful equipment and continue working without an issue. Showing the workflows you create to make things fun faster is a good way to show you can or anyone can do this. You may need at least $100,000, but it can be done. I had the great honor of meeting Werner Herzog for three years. On his first visit he talked about the film My Son, My Son, What Have Ye Done? and how he was not a fan of the RED. Okay this was the days when you needed frozen food packets to cool the sucker down. That was fun. Also he is a celluloid fan. That must be stated before anything else. He goes up to the R1 we have set up and covers the monitor with someones beanie. He says that is one of the reasons he hates the camera. To his point he is right. Less and less my generation mostly do not trust their eye and go for the monitor. How in the hell is the monitor going to let you know that you are 12ft away and need to focus to the man 25ft away while keeping it on him as you walk through a crowd, but whip it back to someone at 5ft? A monitor fails you every time. Also he didn't like the 90 seconds of death turn on. No one did. But the Epic has come a long way since then.
Contacting editors is more of a nightmare. Well not to say it can't be done. I say editors are like boulders. It takes more than one person to move them unless you got leverage. Someone like Walter Murch was a walking soundbite for Final Cut Pro. That's what you need. Someone of serious recognition. You mentioned that for camera operators and assistants. Well many editors will go on and I've gotten into headed debates on this. But it always came down to this, "Well when I was your age I worked with film." I have never shot on film. The closest was DV and HDV. But now many around my age are and have shot all digital. So we don't know the luxury of shooting with film and cutting reel to reel. The reailty is that editors deal with so much shit from new codecs with no play with play them back or not having the required hardware or tapedeck or whatever it may be. Enevitibly they shut out the idea of using a said codec. Many I talked with thought the R3D files were too large and had no way to work with them. I asked had he looked into purchasing a RED Rocket. He laughs and says that doesn't help. **For anyone who works with RED we all know it helps** And so many are unwilling to change and you can only change those who are willing to make art or commercial success with the intent of being fluent in many different formats, codecs and even different editing platforms with many different workflows.
As for camera guys. Well they are pissed off and I don't blame yeah. It's like if you had to start driving manual this second after driving automatic your whole life. It sucks and it's hard, but eventually you can do it. It's like speaking more than one language. It can be done, but not all will do it.
As for this film look. How many different looks are there? The Godfather looks nothing like T-Men which looks nothing like Babel which looks nothing like Hair which looks nothing like Inception which looks nothing like The Battle of Potemkin. You may be wondering what I'm saying. No look is the same. So which damn film are you trying to reference? Hell Tarantino has his style and look which is safe to say has its roots from Exploitation of the 70s. He says he steals from every film ever made. In short he is just saying I love film. Meaning films shot on film. He isnt a fan of digital movies. Me I see it like some who say who gives a shit. If the film calls for an iPhone use an iPhone. When I try to shoot I learned that over time you gotta light to the damn RAW sensor and then when in Color tweak the settings to look you want for post and then be set. I found that doing this helped give the director a talking point and then we could tweak this. And over time she saw what I was doing. It helped. I mean Traffic is so fucking gritty, yet you can do this with the Epic by dropping it to 18:1. It will be noisy as can be, but look oh so cool. Really people want to look like their heros and instead of finding what they like. I love the conformist, but I won't be able to create that film look so why not steal the symmetry of it? Why not steal the emotional and psychological lighting of it? That is something I purpose to anyone doubting any digital camera, Do you have to have it look like this film?
Hopefully this relates to your post. But I think that what you posted is on the money. This is also my opinion.
