Welcome to our community

Be a part of something great, join today!

Log in
  • 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 :)

REDRAY Comments

Yes, in post production we rely on those bits to make the footage more malleable, but once you are done pushing things around they may indeed be disposable. I too am anxious to see the new exhibition system in action.


Andy Roberts said:
I have to agree with Tim here, at least what I THINK Tim is saying. When you're in production mode, you want the highest quality specs you can have. But in playback/distribution/viewing mode, the only thing that matters is how does it look? And if it looks stunning, who really cares what the tech specs are. Viewing is the end of the train and if it looks how you wanted it to look, then 8-bit, 2-bit, 12-bit... who really cares? The footage has done its job.
Click to expand...
 
Jun-Dai said:
Is ODEMAX going to allow limiting distribution to theatres and end users within a specific country? On the one hand, I hate that model, but on the other hand it seems to be the basis for most content licensing, so I assume it's a fundamental requirement for most content distributors.

With that in mind, how would such regional restrictions be enforced? Would it be IP address-based (e.g., Netflix/Hulu) or credit card based (e.g., iTunes)? Or both?
Click to expand...

According to Jarred (post #225 in this thread) -

"You can limit to territories, you can limit to certain players, certain users, play once, play many, play forever. All decided by the producer of the content."
 
Tim Whitcomb said:
Come to Portland and ill take you to several new venues that host microbreweries to t
4 40. Seat venues that serve gourmet food and show mostly indies you never heard of and which are always
Packed .
Click to expand...

Tim, it sounds like you're basically agreeing with the original statement that things like food sales are a vital part of making a theater operation work financially. Except that what you're describing is basically a restaurant that shows movies rather than the other way around. My guess is that it's the food operations that are keeping the theater going, not the movies, which is exactly what I was trying to point out.
 
Jon Farhat said:
Yep, you're right to a large degree. But you can expect big players, and a new reality. Things are going to change for theaters, as well as homes. No one said all we're doing is launching "A new distribution model in and of itself..." A comprehensive business model is also needed to address all of what you mention. Expect to see that too.
Click to expand...

Well, I wish you success. Consider me in "wait and see" mode for the time being. BTW, I'm sure you're familiar with Emerging Pictures, which has been doing an indie digital distribution model for a few years now. Do you see your model as substantially different more because of the concept of self distribution by the content owner, or because of the quality bump? Personally, I think the former is the most significant part, with the latter being more of a carrot than an enabler, but that's just me...
 
Decent food and cocktails have proved to be a good companion to cinema though Mike. A lounge/restaurant can make the whole experience a little bit more enjoyable, meaningful, since people tend to interact with one another before and after the movie, and exchange opinions, and so on. Unlike at popcorn lineups. There is often a laid back atmosphere, conducive to watching and discussing movies. This isn't a new concept by any stretch, and is to be found anywhere from Texas to Scotland.
 
40 seats x $4 seat returned to film maker time how many screenings in a week? 8? 14? Sure, RR is perfect for this.. but that's about $2k per venue for a good run.
While I'd be happy to have it, instead of distributor's excuses... I need 200 screens like that to get $400k back from a film.. which will not underwrite a film with a 20 day shooting period and a SAG cast. Well it might underwrite some scripts, and I have produced ones in that price range, it won't support the director or producers.. or even an editor.
 
M Most said:
Tim, it sounds like you're basically agreeing with the original statement that things like food sales are a vital part of making a theater operation work financially. Except that what you're describing is basically a restaurant that shows movies rather than the other way around. My guess is that it's the food operations that are keeping the theater going, not the movies, which is exactly what I was trying to point out.
Click to expand...

It goes well beyond that - they rent the theaters to indies who can affordably 4-wall their films - and the filmmakers keep the box office as the establishment makes the rental and the food and bar sales - but these are built as theaters with amazing seats and screens and projection and sound - not bars and restaurants with a projector ... Small venue unique experience distribution is the future of indie theatrical distribution IMHO - and this technology enables more people to enter this game - but I'm not sure your analysis looked into this type of model for exhibitors versus $5.00 popcorn models - ? - it's definitely not just about being a restaurant and bar - it's about events and screening rentals with the former being the icing... It should be noted that some of these seat 500 people BUT currently those suffer from poor projection
 
Tim Whitcomb said:
- but I'm not sure your analysis looked into this type of model for exhibitors versus $5.00 popcorn models - ? - it's definitely not just about being a restaurant and bar - it's about events and screening rentals with the former being the icing
Click to expand...


Geez, Tim, give me a little credit. I researched at least 3 or 4 different combined operation scenarios, including components such as a restaurant, screening room rentals (including studio screenings, since I liveliness Los Angeles), and use as a post production space for various steps in the process. My ultimate conclusion was that operating a theater facility, no matter what the business combination offered, was extremely challenging financially, regardless of my enthusiasm for doing it. Which is why I ultimately didn't.
 
M Most said:
Geez, Tim, give me a little credit. I researched at least 3 or 4 different combined operation scenarios, including components such as a restaurant, screening room rentals (including studio screenings, since I liveliness Los Angeles), and use as a post production space for various steps in the process. My ultimate conclusion was that operating a theater facility, no matter what the business combination offered, was extremely challenging financially, regardless of my enthusiasm for doing it. Which is why I ultimately didn't.
Click to expand...

Perhaps it's a geographical advantage because we don't have your nice weather or large geographic area - I definitely see it is as a smaller city model - doing anything in LA is definitely more challenging, I will agree with you there!
 
Terry VerHaar said:
According to Jarred (post #225 in this thread) -

"You can limit to territories, you can limit to certain players, certain users, play once, play many, play forever. All decided by the producer of the content."
Click to expand...

LOL. I searched the thread on "regional", "national", "country", etc., but didn't think to search on "territories". :-)

That said, it still leaves the second half of the question. If I am in the UK and buy this player and want to watch something only available in the US, which headache am I going to have to go through: watching over a VPN (hulu) or maintaining a second account that bills to an American credit card (iTunes)?
 
I'm sure there will be an Odemax content provider's "chat room", where filmmakers, etc, might exchange ideas, form alliances, and so on.
Or interactive links between channels, or... ???
 
Even after 2 days thinking about and explaining the whole thing to others i'm really excited. ODEMAX and REDRAY are a killer combination, its really a dream coming true, as consumer and even for me as hobbyist and hopefully future independent filmmaker. Man, this opens up so many new chances, it has the potential to change this business on every level, its unbelievable. It could even allow to get back a bit more to the art part instead of doing it as business alone... Great thing.

Seeing all those other VOD-service of the past few years there was never a real break-through, nothing made much sense. It left many open questions "Why don't they...". It's great to see that you guys had the same questions and found the answers! :) It's also good to know the whole thing being in the hands of the good people of RED and ODEMAX, people who actually love movies and not just the money.

RED and ODEMAX, i wish you guys great success and say thank you for taking the risk starting this massive project without making poor compromises.

Truly amazing...
Enough said, i can't wait to receive my box and be there when it all begins. :)
 
Well I guess I will have to reserve judgment till I can see it projected...I just don't want the image to be crippled in any way before the sell job begins.

For so many years HDcam codec was 8-bit 4:2:2 and it was 'good enough'...and indeed it still is in this country for a couple of broadcasters (by and large it's HD SR as the required deliverable). I'm sure everyone at Red has thought long and hard about what the data rate and bit depth ought to be along with the compression scheme -there's a trade off happening in exchange for such a low data rate.

Perhaps in the future once .red takes hold as the 4K standard there will be an equivalent 'SR'.
 
The importance and breadth of this concept is staggering. For one thing, I believe it will have a very positive effect on the quality of movie content, creative, and the likes. It is one thing to believe in one's ideas and abilities, but that can easily be undermined or destroyed by the lack of outlets for these things. There is no shortage of examples of the effects of suppression on even the most talented of filmmakers. And that does nothing to sweeten the already difficult work of making movies. A ray of hope is often all that it takes for most creative minds to flourish.
This Odemax and RED concept definitely provides for that.
 
This new week I believe on this coming Friday, I will be going to RED STUDIOS in Hollywood with Epic Owner and REDUSER member Tony Rudenko to see the REDRAY in action!! We are very excited to tour the specs and see it perform. I have been building a high end private screening facility at my studio space and I think REDRAY will be a must have item for this. I will reply with whatever info they give us and whatever photography they let us take.
 
Dan Frenkel said:
This new week I believe on this coming Friday, I will be going to RED STUDIOS in Hollywood with Epic Owner and REDUSER member Tony Rudenko to see the REDRAY in action!! We are very excited to tour the specs and see it perform. I have been building a high end private screening facility at my studio space and I think REDRAY will be a must have item for this. I will reply with whatever info they give us and whatever photography they let us take.
Click to expand...

Its an open invitation.. anyone else want to come check it out, you are more than welcome. Just email Lia.
 
Joseph Coleman said:
18gb for 2 hour movie. Technically with .RED you could fit a full 4k movie on a 25gb bluray. Hmmm would love to see the quality.
Click to expand...

Not only would it fit, but the data rate (20Mbit) is less than half of what the Blu-ray format already supports.
 
You must log in or register to reply here.
Back
Top