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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 :)

Steven Soderbergh...

I am in pre production for 3 films that were only green lighted because of the Red's. One of the actors I want to cast worked with Mr. S on Magic Mike. When I told him that we were going to shoot with a Red and an Epic his question was "Are you going to shoot as many pages per day as Soderbergh? Because that man really puts actors to the test. He shoots so much so fast." I thought that that was highly complementary. I think that from the production side of this business the Red revolution is well under way. For those who are looking to the future. Its here today and getting better all the time and the updates are FREE!
At the Austin Film Festival this past weekend I found that most indie folks were still talking canon and that the red was to hard to postand that film will be the best thing to shoot with. I laughed and told tham to get busy and learn the truth about Red's. The moderator at the Editing conference had never heard of a R3D raw file. Thank You to all of you that are out there doing the real deal every day. My god how much I learn from reading the posts and trying to stay up with you all.

If you want to be a better player you have to play with better players!
 
God love Steven Soderbergh, indeed.

I've watched the below video at least thrice -- I could probably watch it ten more times and still sit in astonished amazement at the cojones it took to shoot CHE on the RED.

 
Got a lot of time for Soderbergh. I love that the majority of the films he makes appear like experiments. The only one that I have a love/hate relationship with is The Limey. I don't think a lot of it worked at all (worst of all was Stamp's dialogue overly cockneyed up by Dobbs' script, it was cringeworthy) but I still really enjoyed it. I respect him as an artist, and obviously for all those risks he took at the beginning with RED and for really leaping at the technology and staying with it.

Don't know about Haywire? I'll watch it for Soderbergh and Dobbs' script, and the impressive cast, but the story looks SO tired. I hope there is an interesting script behind it, at the very least we will have interesting direction and a beautiful RED image.
 
Michael Brennan said:
Sergio, have you conducted a survey?


Mike Brennan
Click to expand...

Mike, you're right. I should have added " in my opinion" to that comment. I made that comment looking at least at our "regional" landscape. People over here embraced the red one pretty much. In hong-Kong Red is becoming the standard of their productions. The move to Epic is the final step to "be" the standard. The only thing keeping a complete Red conversion here is availability. There are still some sceptics due to some Red One design issues, like long boot times and it's history of firmware updates. Some just don't like the constant upgrade philosophy ( they don't understand it!) . Arri also did a strong marketing push of the Alexa over here. But I still think the more it becomes available, the faster it becomes the standard. It's just the best available option out there, nothing compares.
 
Whether you love his movies or not, the one thing you can take away from Soderbergh is that he is a genuine filmmaker and he has embraced the RED because it creates the images he wants to see. It allows him to move at the speed he wants to move. While some may complain about things that don't work perfectly, he continues to shoot movies on that same tech. There's a lot to learn and be inspired by his approach. Again, you don't have to love his movies or even like the look he is getting with the cameras, but the fact that from Day one he saw something in what the guys at RED were doing and has led the way for the past few years is a very cool story.

As for why everyone isn't shooting RED, in fairness other DPs have embraced other digital cameras just like Steven embraced the RED. And I believe some, maybe many have genuine reasons for doing so. There are a few who may have agendas, but really I think it comes down to what your eyes tell you. We don't all see the world the same. Fortunately for the guys at RED, there are a lot of people that see the world the way they do and that has led to a lot of success, especially as the underdog at the beginning. And I think their reputation is growing even more with Epic and their commitment to the post side which has been very evident lately with the release of Redcine-X Pro and the continuous work going into improving the processing of their footage.

Think back to what Steven had for features on those Red Ones for Che. That's all you need to know about working within limitations and making art. He exemplified it.
 
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