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 :)

Rumor started in LA

Well, on the danish girls, I won't comment at all, as well... :D But if you don't know Europa (first aka Zentropa in US, I believe), I shall recommend to you and to everyone here.
 
If any camera was killed off in production it was, sadly, the massively superior BLUE camera. :(






(for people that don't know, this is a reference to an old inside joke from way back when around the time the RED was announced)
 
Sanjin,

Paying attention to your nice pic, you shall still check out the Dogme rules there (but of course, Dogme's 'vow of chastity' was the pretext and there is a whole movement beyond that where RED can rule -- that is, if the cine-style guys don't kill our hype):

LarsVT.jpg


rule #4
«Special lighting is not acceptable. (If there is too little light for exposure the scene must be cut or a single lamp be attached to the camera).»

For those who don't believe in directors operating cameras, your pic rocks...
action-smiley-033.gif
 
The Third Man said:
also I like a lot of Danish stuff like Jacobsen furniture (have some), Bung & Olufsen (have some), like Karlsberg beer, like a lot Danish girls (had some)and more...
Click to expand...
Hi Sanjin,

Although I enjoy you posts and also enjoy the Danish aesthetique, I am a little scared of Bung & Olufsen.:p Could this be the Danes answer to swedish erotica?;)
 
I can certainly understand why so many filmmakers on the "outside" like the image of crusty old established DP's falling by the wayside simply because a full-size sensor camera is made available at an affordable price. But it simply won't happen. Nearly all DP's have worked with digital at this point, and more than a few have embraced it and are perfectly comfortable with it, and they will continue to make images that are excellent.

By the same token, the folks who have learned how to make beautiful pictures with their 1/3" format cameras will now have an opportunity to do so with more serious optics. Yes, the pictures will look that much better, but this doesn't mean that they will know any more how to handle every other aspect of shooting features, some of which (lighting, composition) have been touched on here but others (personnel management, politics etc) are a world apart.

No long-established DP is "scared" of digital acquisition, except for the possibility of losing control of the image by having the post manipulation taken out of their hands (which can happen on a film-originated project that goes through a DI also). The camera is simply one piece of the puzzle. I've had plenty of conversations about RED with very highly regarded DP's--won't name names but we are talking about a few legends here--who are interested and supportive. The nature of cinematography is evolution--cameras evolve, film stocks have evolved, lighting gear evolves, so why would anyone be threatened, except if they happen to own a digital camera that they haven't paid off yet (and that's a reasonable concern!!).
 
The visions are different

The visions are different

Emanuel,

I do not like the rules or any sort of dogmas. I am strongly for freedom of expression in the movie images. Simultaneously I respect Dogme 95 or any other movie manifesto before and after. All it is about a vision. An the visions are many and different.

There are some of the options like the following list below but there are also much more of them.

- If your current project or a movie vision request purity or some kind of "Less is More" minimalism like aesthetic than you could follow those rules to achieve a goal of your project concept.

-If your current project or a movie vision request trash and dirty style follow the certain rules to help you to get and achieve this kind of conceptual aesthetic.

-If your current project vision request mix of everything that follow the rules to find and achieve all that different aesthetics to get your movie finished.

...
 
"Rumor Has It..."

"Rumor Has It..."

And we are to far from the tread topic with this kind of discussion about the dogme95, film aestetic, red,... etc...

I will finished with a joke and said:

"Rumor Has It..."

g_home_cast.jpg

User Comments: A film that proves rumors are bad, really bad...
http://www.imdb.com/title/tt0398375/
 
Sanjin,

Understood. I don't like dogmas nor rules, anyway. Nevertheless, this isn't the point. Just a movement to break the rules... :D Or if you wish, proclaiming this need. LVT is the anti-form filmmaker (perfect) example and at the same time the best one doing what he knows to get: a formal cinema without other competitors.

EDIT -- Like RED :D:

Emanuel

The Third Man said:
Emanuel,

I do not like the rules or any sort of dogmas. I am strongly for freedom of expression in the movie images. Simultaneously I respect Dogme 95 or any other movie manifesto before and after. All it is about a vision. An the visions are many and different.

There are some of the options like the following list below but there are also much more of them.

- If your current project or a movie vision request purity or some kind of "Less is More" minimalism like aesthetic than you could follow those rules to achieve a goal of your project concept.

-If your current project or a movie vision request trash and dirty style follow the certain rules to help you to get and achieve this kind of conceptual aesthetic.

-If your current project vision request mix of everything that follow the rules to find and achieve all that different aesthetics to get your movie finished.

...
Click to expand...
 
We would need a new tread to continue...

We would need a new tread to continue...

Emanuel,

please open a brand new tread in the section "Off Topic" and we can slowly continue because anyway it is not going so much NEWS about the RED ONE development right now. They are in a creative silence that is behind the curtain. Let them work. No rumors any more.
 
Red DIT seeks experienced DoP

Red DIT seeks experienced DoP

To Charles - thanks for bringing your wisdom to this forum.

Assuming that Charles is spot on I see my ownership of, and, more importantly the deep understanding of the workings of the RedOne I am committed to developing once I have it in hand, as a way to get into the mix. I would love to find an experienced DP who would like to work with the camera and would allow me join up as primarily the data management dude who knows every menu and control like the back of his hand. I am there to provide peace of mind by paying attention to every detail of cloning and verifying the data before the magazines get recycled. This DIT job may pay $400/day or less, but I would expect to get workbox rental income from the camera and the support van full of computers, hard drives, monitors, etc that I will use to make the copies and verify the image quality on or near the set. This could also serve as video village.

After doing a few shows in this DIT type role I would start looking to book myself out to indie producers as a DoP with a RedOne and support van. I have already spent many years creating motion media (I have even been a DoP on a micro-budget feature, still haven't been paid :mad: ) and if I pick the right DoP for my DIT experience, and really pay attention to what they are doing both technically and all the non-technical stuff Charles refers to in terms of personnel, politics, etc - then I might be able to use the camera as leverage to get more interesting assignments than the corporate stuff that has been paying the bills but boring me more each year.

Any camera leverage strategy will only work for me (or just about anyone lacking the old buddy connection) if I bust my butt, pay some dues and act like a professional. I am also looking beyond just having the camera to being able to add value by providing a more complete workflow solution.

IMHO it is incumbent upon us as part of the vanguard of the digital cinema era to marry great images with a proven IT workflow to safeguard those images. I plan to offer a service that includes 3 copies of every frame shot, at least 2 of which are DCN (digital cinema negative RedCode RAW) files. The no film, no tape story needs an alternative that allows people with their jobs on the line to sleep at night - that's just my opinion, I could be wrong.
 
Andrew Benz said:
Hi Sanjin,

Although I enjoy you posts and also enjoy the Danish aesthetique, I am a little scared of Bung & Olufsen.:p Could this be the Danes answer to swedish erotica?;)
Click to expand...

Andrew,
when the RED is finally out let us make a movie about the differences between Danes and Swedish erotica but not a porno, a real sweet movie...it could be about mentality styles...something like between Bergman's psychodrama and Lars's social/global criticism etc...maybe Emanuel will help to get us find rising the production budget...
 
I almost feel embarrassed, almost....I just want to make really good looking movies, mainly scifi and horror. Or doing historical drama where beautiful British women prance around naked (ie..Rome). No Oscar bait here.
 
You must log in or register to reply here.
Back
Top