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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 :)

SATA 32GB and RED 50-150mm Coming Soon?

Christopher I am unclear how the Red will make you a better film, the camera doesn't make the photographer it's his vision. The same with a feature, it's the story and the feeling it brings the viewer.
 
"how the Red will make you a better film"

when a project is finished many think it's the image quality that is the problem not the story/script /acting - they see a so -so image and can't get beyond it to really see the problems ... with RED the image is not going to be the problem ... no more excuses - its the script/acting ...
also remember all phases of production are connected ... seeing great images can inspire actors/crew all involved !!! gets one motivated even more then if you were shooting with a DV camera ...
one feeds off the other ...
 
RCFisher said:
Christopher I am unclear how the Red will make you a better film, the camera doesn't make the photographer it's his vision. The same with a feature, it's the story and the feeling it brings the viewer.
Click to expand...

Bold statement. Especially on a forum for a Digital Cinema Camera. I agree with donatello, its about production value and - if you have ambitions to get your picture up on the big screen - a very real quality difference. Wouldn't you want to shoot on the best (in terms of resolution, DR, artifacts, post production flexibility etc) available format for your budget and workflow? I think that is what Christopher wants. I think that's why Jim Jannard built this camera.
 
Sometimes the story and good acting is enough and you will forgive some of the technical shortcomings of a film. But to me what makes great films is when everything is working in perfect harmony with each other, so that you never really pay attention to one particular thing it just adds up to a solid film. Resolution alone will not give the Red camera that much of an advantage. As I have seen from some of the footage posted, you will need the other things that go into making good looking motion pictures - lighting, set design, costuming, makeup, etc. Yes, the Red camera gets us out of the resolution limitation associated with certain video formats and it's 35mm DOF go a long way to helping filmmakers achieve what might have been out of their grasp in previous filmmaking endeavors, but the Red aquired films that will have greatest success will be the ones that pull it all together and make a film that is less about the technology used and more about the experience you have watching it.

Steve
 
RCFisher said:
Christopher I am unclear how the Red will make you a better film, the camera doesn't make the photographer it's his vision. The same with a feature, it's the story and the feeling it brings the viewer.
Click to expand...

A few people have answered this, but to answer again, as well as keeping this vaguely on topic I should point out that the SATA makes a difference to me, as I'm shooting in Perth, Australia, the most remote city in the world. We have no film lab, so we don't get rushes the same day. We get them two or three days later, if we're lucky. Features made in Perth often have to be finished with focus problems left in the cut. Red will help me avoid that. By using Redram and/or the SATA I can watch my rushes each night, on a very large monitor. That will make a huge difference.

Also, the Red workflow, shooting style and many other aspects of 4K acquisition will make this a better film than if I shoot on 35mm, but some of the exact reasons are trade secrets. Suffice it to say, Red will be better.
 
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