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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 must take Europe!

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Tim Whitcomb said:
Don't like his metaphors, really? really? Well RED calls their EVF a Bomb. their camera mount an ASSAULT Plate, and uses NATO (gun mounting hardware) get over it. RED has been waging a war of sorts, ask Jim (who I bet LOVES this post)
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Don't like that either.

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Red is well represented in Europe, at least here in Germany. And if Arri is doing better it might be a stimulus for Red to improve their cameras even further. The thread starter's post is doing Red a disservice, IMO.

Hans
 
Guys,

A very strange initial post I agree. I don't think this style of rhetoric goes down very well over here. But a couple of things.

As much as there are those who appreciate what Red offers, Geoff Boyle amongst them who's opinion carries a lot of weight in the UK, Europe and beyond, there are a lot of those in the established industry who see Red as single handedly trying to destroy their beloved film world and Arri as the saviours and protectors of this world. Even thought they also use a digital sensor, it is 'much closer to film'. I have this issue almost daily with other technicians and clients.

I see cameras and lenses as tools and you choose each tool for the benefits and advantages it brings to a job. If I am shooting a feature next year I would probably choose and Alexa Studio for the optical viewfinder and a have an Epic stood by for offspeed work and possibly any plates I may need. Merely horses for courses. It would be great to get a 2/3" fixed lens Scarlet also for any run and gun doco style work at the other end of the spectrum.

Second thing is I thought we were part of Europe?!

Mike C
 
We were, with my friend Jean-Charles, some of the early believers in Red here in France. Check my registering date on this forum, the same as Jim Jannard ;-)

There are a lot of reasons why Red isn't very popular in France. I have pointed them several times.

1) There is no real Red Europe Center. Red is an American company. They see the world as Americans. They're "at war".

First, a real European Center is a center is the Euro zone. It's easier to buy within this zone. I like our English friends a lot, but they're not considered by the countries in the Euro zone as Europeans. Same thing applies to Switzerland, some Northern countries, etc...

I've always said that Red should open a Center in Germany : they're central located, have a great pro gear industry and have a well-known business mind that Americans can easily understand.

2) Red should pay more interest in the independent movies which are made with their cameras. Red's marketing strategy is basically to convince individual owners to buy their gear because the huge pros are using them too (Sodergbergh, Jackson, etc...) It's a good strategy, of course. But all the feature work done by these indy owners should be, at least, shown on their website (an indy category). And Red should really help some indy features to be made by providing easy gear access/screenings/etc... Most of the pro companies (Kodak, Aaton, Arri, etc...) are doing it here in France.

More personal : my friend Jean-Charles Wolfarth was probably the first director to complete a full 4K post-produced indy movie here, called Parmi l'azur, with no Red/French support. And he was one of the first in France to use the Red on a feature film, thanks to Meryem Ersoz. Again, with no direct help/support from Red.

3) Red should change their communication strategy : the "we're at war" thing probably works in the USA, but outside America, coming from Americans who are known to be imperialistic, it's a bad way. "Red should take Europe" has an other meaning for Europeans. And it's very funny coming from Switzerland ;-) Red should leave all their warrior spirit at home, at least for the foreigners.

4) French Red owners should be more open to indy projects. I know that the cinema business in France is just nepotism and selfish attitudes, but a lot of efforts have to be made from Red owners to be as kind and helpful as their European/UK/American friends. Especially in terms of prices. Quite often it's cheaper to rent a Red camera outside France. The French are known to be bad salesmen ;-)

That said, it's only the beginning and the Red adventure has a lot of beautiful and bright days coming...

Sorry if I sound harsh, it's just to improve things my way ;-)
 
geoffboyle said:
I'm not sure why I'm replying to such an obviously, hmm, can't find a non-offensive word, I'll try strange, post.

Red is well established all over Europe, I shot Wallander in Sweden on Red in 2008, Camalot in Amsterdam has a shed load of them, Blixt in Copenhagen has a bunch that are working all the time, I could go on.

It seems that you're corellating a problem in Italy to the whole of Europe, it just doesn't fly.
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Parden the gushing for a moment redusers....

But Wallander (Swedish version) is an excellent example of Reds 'getting it done' in Europe, and I have to say that Geoffs work on it is awesome!
 
Frederick von Sulle said:
At least read my post - London is in the UK correct. "All what you will read now does not apply to the UK." Be polite: UK is not continental Europe, it is another planet.
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Honestly, I've read some strange things on this forum, opinions I agree with, and opinions I respectfully disagree with.
But this is just plain stupid. Grow up.
 
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