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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 :)

RED has been defined...

Jannard

Jannard

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The Hobbit
The Amazing Spiderman
Prometheus
OZ. The Great and Powerful
The Girl with the Dragon Tattoo
Total Recall
The Great Gatsby
Flight
The Muppets
Snow White and the Huntsmen
Jack the Giant Killer
Underworld Awakening
Magic Mike
The Social Network
Contagion
Pirates 4

And your reason not to shoot EPIC is...?

Jim
 
You forgot the instant classic, Forest Investment Associates 25th anniversary film. The client liked it so much we're now working on a follow up marketing short.
 
Jannard said:
The Hobbit
The Amazing Spiderman
Prometheus
OZ. The Great and Powerful
The Girl with the Dragon Tattoo
Total Recall
The Great Gatsby
Flight
The Muppets
Snow White and the Huntsmen
Jack the Giant Killer
Underworld Awakening
Magic Mike
The Social Network
Contagion
Pirates 4

And your reason not to shoot EPIC is...?

Jim
Click to expand...


Add "RAPE of a BEAUTY" to that list, might not be as near as a HUGE Hollywood Big Budget film, but I promise you, it will make RED proud just the same, and it will showcase the RED EPIC like none of this films have done... ;)
 
There are tons of features and shorts not listed.

Jim
 
I would put Winters Bone right at the top of that list.

Many of the films listed above used Red to create a distinctly modern look.
But that film... Projected in 35, I completely believed it was shot on 35, with a thick DI... Nope. Red One M.

And wasn't that the goal, to honor film with a suitable heir? Not sure if any camera has done this, but Michael McDonough came as close as the sensor would allow.

EDIT: All on the original sensor too...
 
Last edited:
Add as many as you like...

Jim

Ryan De Franco said:
I would put Winters Bone right at the top of that list.

Many of the films listed above used Red to create a distinctly modern look.
But that film... Projected in 35, I completely believed it was shot on 35, with a thick DI... Nope. Red One MX.

And wasn't that the goal, to honor film with a suitable heir? Not sure if any camera has done this, but Michael McDonough came as close as the sensor would allow.
Click to expand...
 
Jannard said:
The Hobbit

And your reason not to shoot EPIC is...?

Jim
Click to expand...

I use an EPIC, but if i were to look for a reason NOT to use it it could be:

I want a really BIG camera.
I don´t want all that resolution.
I don´t need all that resolution.
I just love ProRes - will never use anything else.
I have loads of cash to buy /rent overpriced gear.
I am stuck with the A-word/S-word.
I only trust big corporations, what is good for their shareholders must be the best for me to use.
I don´t believe in upgradeable technology.
I am:
scared( )
stubborn ( )
old fashioned ( )
a bit slow ( )
challenged in some other ways ( )
please tick

:)
 
peter roehsler said:
I use an EPIC, but if i were to look for a reason NOT to use it it could be:

I want a really BIG camera.
I don´t want all that resolution.
I don´t need all that resolution.
I just love ProRes - will never use anything else.
I have loads of cash to buy /rent overpriced gear.
I am stuck with the A-word/S-word.
I only trust big corporations, what is good for their shareholders must be the best for me to use.
I don´t believe in upgradeable technology.
I am:
scared( )
stubborn ( )
old fashioned ( )
a bit slow ( )
challenged in some other ways ( )
please tick

:)
Click to expand...


This would make a good print advertisement :)
 
Jannard said:
And your reason not to shoot EPIC is...?

Jim
Click to expand...

I'm still paying off my student loan and trying to buy a house. 3K for $3K would have been awesome, but understand the strategy. When i'm ready, i'll get one though :)
 
Those are ALL big budget Hollywood movies. There are plenty of less-expensive cameras for smaller budget projects that would just throw away all that extra data Epic provides anyway.

Pick the right tool for the right project. I'm on a couple Epic projects in the next couple months, but I use other cameras too...
 
That on the "top of the ladder". This is also true in "our side": never before has such a groundbreaking camera be accessible to "independents", to those outside of a "selected few". This has trully changed the filmmaking landscape (as well as most audiovisual content production) throughout the world. Also, beyond the groundbreaking features and capabilities of the camera and its incredibly accessible pricepoint, I have to say that Red's unique attitude and modus operandi has been equally important to this new, worldwide filmmaking landscape. Every single reduser I've met has that mentality of pushing forward and to take a risk in order to get the ultimate reward, which is fantastic pictures. Here on the "lower end" of the ladder, the same happens, it seems, as in the "higher end": word of mouth, excitement, passion, share of workflows, of new ideas and how to push everything even further. The redusers I've met and spoken to are everything but conservative in their pursuit of the best images, just like Red. (no politics please, by conservative I mean happy with the status quo and the existing "standards" .) . I feel great to see all these high end blockbusters and pictures using "my" camera, but I've never thought that purchasing a camera would mean also opening up a world of like minded individuals that share and are committed to push audiovisual production forward, independent of budget and limitations. Audiovisual Production is a Team effort from all different creative arts individuals as well as technicians in order to achieve a unified, solid piece of audiovisual content- not only film, shorts or features, but TV, Publicity, Documentaries, even Event Coverage. Not only has Red created a groundbreaking camera system, but created a different mindset in the previously extremely conservative High End world of Image Capture. That is why it has been taken with open arms by filmmakers that also push boundaries, that stand on their own and like to be in control of their creative content. Red gives them freedom to shoot the way they want, outside of the previous "model" and limitations of times past.

Keep pushing, Jim, Jarred, Graeme and all at the Red Team. You guys changed the industry, and helped significantly to create a revolution in the rest of the audiovisual creation panorama worldwide. Can't honestly wait what you'll bring up next!!
 
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