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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 :)

Peter Jackson interview...

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Thanx Jim

Thanx Jim

Thank you Jim for the posting Peter's Interview.

Come on Jim you need to gear up and make RED a default Digital Cinema Camera and we are there to support you.

When can we see the real light!
 
Zk2007 said:
About multi camera shots, most DPs hate that because it complicates the lighting. Unless it's a big complex one time type of shot, one camera is enough.
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Don't forget about multiple units shooting etc.
 
darkline said:
"The real thing will have several stops more lattitude"

Can this be true? The prototypes were 11.3 stops, so we'd be lookin at more like 13 stops and over.

I wouldnt get too excited until I heard it from Red personally.

Great kudos for Red though.
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Huuummmm, I think with a 12bit native raw you can get 12stops at the max or am I missing something?
Cheers
 
I think PJ may have been refering to the fact that the prototype cameras he had did not reach 11.3 stops, but the production versions are expected to do so.
 
...So lets wait and see, btw 11.3 stops and the modularity of red will make alot of dp's the hapiest in the world.
 
I was joking about the 5 camera thing by the way. I'm sure when Jackson shoots he'd have the crew to handle shooting 5 at once, he certainly has the post production in place for handling masses of content.

One red camera will certianly be better than using 5 crappy cameras, it might take a little longer on some occassions but I recognise it's entirely feasible.
 
Jannard said:
“Ready for takeoff” from New-Zealand magazine “ONFILM” (May 2007)
none of the “digital” look I’ve seen with some other HD cameras.
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Hate to correct the great man but that's because this is a digital camera, not a bloody video camera.

One day soon all those barely souped up SD ENG cameras will be history and real digital cameras like RED will dominate, just like in the stills business. I can't wait!
 
A/B for units one and two, and one backup camera, then all five for big action sequences.

Yum.
 
Wow, nice sweet interview ! I am not a director but I love Peter's work, I am not a pro, but I love RED. Well done again Jim :D.
 
Just about every feature and tv drama I've ever worked on had a spare camera body, so with a seperate second unit that's four cameras already. Having said that most productions end up using their spare body as a B camera for 2 camera shoot days which seems to defeat the object...then again it's not my money ;-)
 
I think Peter's remark about shoting at 4K and finish at 2K is the most telling
piece of info I have heard about the Red in ages.
This is exactly what we need to hear from a practitioner; sound advice, and practical realworld workflows; no fuss; thanks Peter !

As I am not an editor it would be great to have a sticky made up giving an idea of workflow options (hardware requirments, storage and monitoring options) for working and outputting in 2K for film transfer and 1K for TV Broadcast in FCPS6 on the Mac Platform.

This really would be invaluable to indi and low budget director like myself.
I am on a learning curve when it comes to the Red and workflow and have gone through so many posts on different topics I'm finding it difficult to pull all the info together to get a definitive overview of requirments. Any help would be appreciated.
 
Do you know the title of this movie and any ideas where i can see or download it ?

Thanks
 
darkline said:
"The real thing will have several stops more lattitude"

Can this be true? The prototypes were 11.3 stops, so we'd be lookin at more like 13 stops and over.

I wouldnt get too excited until I heard it from Red personally.

Great kudos for Red though.
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Jackson's cameras were getting about 9 stops. The RED we get should be in the 11+ stop area. 12 is the theoretical max for a 12 bit camera as I understand it.

re: 5 cameras - you know he shot that short with only 2 cameras in 2 days... so I think that speaks volumes about what you can do with less than 5 cameras.
 
Getting an endorsement from Peter Jackson was one of the smartest thing you could've done Jim. It makes more people hop on board Red. Now you just have to work on that stubborn guy...what's his name? Spielberg I think...
 
RED Feature Penetration starts at the top...

RED Feature Penetration starts at the top...

benjiedude said:
Now you just have to work on that stubborn guy...what's his name? Spielberg I think...
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I would guess that PJ's comment that he may shoot Lovely Bones with RED will be the soft sell for Mr. Spielberg for several reasons. DreamWorks, aka, Spielberg beat out the competition to finance PJ's LB pet project for $65M. My favorite part of the deal is PJ gets $20M advance against his 20% of BOG (box office gross).

Lovely Bones:
http://www.eonline.com/news/article/index.jsp?uuid=2dfdcb1e-4b2f-4aff-a007-7967759e3f9b

PJ and Spielberg have partnered to produce Tintin trilogy. The interesting point to this project, beyond the PJ signature simultaneous trilogy production technique, is that this project is slated as digital 3D using performance capture technology.

http://www.variety.com/article/VR1117964927.html?categoryid=13&cs=1

IMHO, the use of RED cameras is the best technical choice to shoot Tintin in 3D - it's a no brainer - size, workflow, resolution, etc - something tells me that two of the smartest guys in the business may choose the best tool for the project.
 
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