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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 :)

Quote from Steven Soderbergh...

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That's a great statement.

Soderbergh is a great camera-centric director, so having him get his hands on one will be a very good thing.

Hopefully, he gets his hands on one. :)
 
kalone said:
Don't know who this Sonderberg is, but his statement sounds very interesting!
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Kalone has a bad German humor ha ha he he heh.

Sodebergh did for example also "The Good German" (2006) that was presented at the last Berlin Film Festival.

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George Clooney as a Good German.

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Sodebergh
 
yes.. coming from Soderbergh is big as he shoots alot of his own stuff, so those arn't just empty phrases.
 
IMO that's very significant. Congratulations RED on that reaction from Soderbergh. Very cool...

Soderbergh is a very accomplished cinematographer, beyond his skills as a director and writer. He's won an Oscar (Director, "Traffic", 2000), and been nominated for two other Oscars (Director, "Erin Brockovich", 2000, and Writer, "Sex, Lies, and Videotape", 1989). I don't think his feat in 2000 of being nominated for an Oscar as a director for two separate features in the same year has ever been equaled in the history of the Oscars.

Check out his awards here:
http://www.imdb.com/name/nm0001752/awards

I thought his camera style in "Traffic" totally worked for maintaining the suspense and vibe of the movie. I also though his camera work in the "Oceans" features was excellent. He can definitely shoot...
 
First thoughts:

Wow.

Cool.

Nice!

OK, brain slips into gear - yeah, that's HUGE props/ups/kudos for the Red Team, congrats to all.

I actually had a chance to talk to Soderbergh years ago at the Austin Film Festival, probably around 1997, after Schizopolis but before Out of Sight - it wasn't the peak of his career. He was in a Q&A session, him and Richard Linklater, and he really shone in that moment. I, of course, digiboy that I was, asked him what he thought of digital production stuff and he lit right up, talking knowledgably about the then state of the art, and his hopes for the future, and the cameras he'd worked with. Years later, I got a chance to work on a music video that was being shot by a friend or DP or somebody connected to him, because they were shooting on "Steven's Canon" I don't recall if it was an XL1/1S/2, but it was "mo bettah" because it was a pre-production unit built to greater than production specifications, and it was Steven's personal baby.

So yeah, other than the obvious digital productions he's done over the years, he's been way into this stuff for a long, long time.

Again, kudos to the Red Team for impressing somebody that knows their shiznit - his statements are HIGHLY qualified.

-mike
 
Way to go , Jim.

Marketing and PR doesn't get much better than this.

I have a warm fuzzy feeling this is only the beginning.

Keep on keepin' on.

aloha,

Keith
 
And in "The Good German" his recreation of 1940's film noir is a study in those great techniques. I though he really nailed it.

As a "hands on" director with a camera he's got some chops.
 
Gibby said:
I thought his camera style in "Traffic" totally worked for maintaining the suspense and vibe of the movie. I also though his camera work in the "Oceans" features was excellent. He can definitely shoot...
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My personal favorite is his anamorphic photography for "Solaris". Artistic widescreen compositions, especially using tight shots with a very shallow depth of field, interesting use of ND grad filters for interior scenes. I would have given him an Oscar nomination for Best Cinematography for that movie.
 
David Mullen ASC said:
My personal favorite is his anamorphic photography for "Solaris". Artistic widescreen compositions, especially using tight shots with a very shallow depth of field, interesting use of ND grad filters for interior scenes. I would have given him an Oscar nomination for Best Cinematography for that movie.
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Definitely...I was similarly impressed by his camera work on "Solaris".

The difference between his camera work on "Traffic", "Solaris", "Oceans 11", and others of his list shows me an unusual versatility in camera styles, and an ability to select a style that best conveys the story to the viewers.
 
Very interesting and enough to get me to actually post here as Red One is way outside my budget. I am working on a 4K film right now but all computer generated.

What's most interesting to me about this is Soderbergh directs, DPs and often operates as well. I do the same thing, albeit with my modest DVX and small short films, but still, I probably respect his opinion about a camera for motion pictures more than most anyone as the demands of doing all three of those things and hoping to do them well is not easy. It's taken me some years to get competent and I still feel I have a lot more to learn.

So I will be very interested going forward on how Soderbergh's experiences with Red, both from the standpoint of shooting and with the final image. I really enjoyed his worked in Ocean's 13. Sure, just a popcorn flick but the cinematography was wonderful.
 
Nice try, Red Team. But you can put up all the testimonials you want and I'm STILL not buying a third RED... at least, not this year.
 
Jannard said:
"This is the camera I've been waiting for my whole career: jaw-dropping imagery recorded onboard a camera light enough to hold with one hand. I don't know how Jim and the RED team did it--and they won't tell me--but I know this: RED is going to change everything." Steven Soderbergh

Jim
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Fantastic!

But I think the reality is RED has ALREADY changed everything. Some folks just don't knows it yet.

Keep rockin' RED TEAM - soon it's shippin' time ...
 
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