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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 :)

Southland shot on RED One

Martin Weiss

Martin Weiss

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From Ted:

TedRed said:
by the way, somewhat if not entirely off topic... I just got done watching the season premiere of Southland on a nice big screen (that many of you know is shot on the RED ONE) I must say, I love this show. and I know I'll take a lot of flak for it, (because I'm a big protagonist of sweet spot exposure, as anyone that has taken REDucation will tell you) but I think the Cinematography is brilliant. Gutsy, risk taking and driving the exposure dynamics for creative effect in really ballsy and powerful way... not everything has to live within the 13 or so stops of range, and the camera shows some really interesting story telling when it's pushed for the hell of it... I think Jimmy Muro, Chris Chulack and of course John Wells and their entire cast and crew should get a tremendous amount of credit for the work they are doing to make this show one of the best hours on TV (and I'm not just saying that because it's shot on our camera... I'm saying it because it's a really good show.

+ Ted
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Just watching the show tonight, it is very good I totally agree.
 
For those of us who can't see the series, it's on the iTunes store. Just had a look at some of the free previews. I think I see what Ted means. Blacks that are BLACK, whites totally blown. A DP making a decision about what he wants to see and what he's prepared to let go. I like it.
 
Y'know - when the point is not primarely to show off a cameras technichal capacity, that might actually be quite a good idea for focus and storytelling...
 
You guys should see the R3D files... Not a pixel is clipped in the sky, police cars, at night, etc. Every "blown" moment is a creative decision for the story... Not pixel peepers. :)
 
Are they using 5Ds and or 7Ds on this show also? Because there was an extremely distracting amount of softness and jello during the driving shots with the two main uniform cops.
 
Love the show and watched episode 301 yesterday. I've known for a while that it's shot on RED, and with this in mind, I got badly kicked out of the story by the terrible quality of some of the in-car shots. Muddy low resolution and copious amounts of jello to boot. In contrast, most of the location shots in the office etc. looked fantastic which made the in-car shots look even worse.
 
Petri Teittinen said:
Love the show and watched episode 301 yesterday. I've known for a while that it's shot on RED, and with this in mind, I got badly kicked out of the story by the terrible quality of some of the in-car shots. Muddy low resolution and copious amounts of jello to boot. In contrast, most of the location shots in the office etc. looked fantastic which made the in-car shots look even worse.
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I would suggest reading this thread again. The show is shot on many different cameras, including Red, Canon, Iconix, GoPro, and possibly other things on occasion. Each is used for specific situations, both photographic and physical.
 
I've never watched this, but it's great to have it brought to my attention. I'll have to get caught up...

M Most said:
I would suggest reading this thread again. The show is shot on many different cameras, including Red, Canon, Iconix, GoPro, and possibly other things on occasion. Each is used for specific situations, both photographic and physical.
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I think the idea was that the RED provides very good looking footage which contrasts sharply with something like a GoPro. I.e., if the location footage didn't look so good, the handicam footage wouldn't be as noticeably poor.
 
M Most said:
I would suggest reading this thread again. The show is shot on many different cameras, including Red, Canon, Iconix, GoPro, and possibly other things on occasion. Each is used for specific situations, both photographic and physical.
Click to expand...
I'm aware of this. I never meant to suggest that the low-rez jello shots were shot on RED. The contrast between crap in-car shots (GoPro?) and some of the superb office shots was quite jarring and it kinda ruined the suspension of disbelief for me. That's all I was saying.
 
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