TedRed
"The Mouth"
- Joined
- Dec 30, 2007
- Messages
- 394
- Reaction score
- 0
- Points
- 0
Sundance 2013
I've been coming to Sundance for as long as I can remember (from the too long brown hair years, to the salt and pepper hair years to the mostly salt hair years these days
There are so many movies shot on RED this year at Sundance that it is impossible to keep track of them all.
I can recall a day when there were only a couple RED shot movies at Sundance, then the year where there were about 10, then the year after about 40, then the year after about 70, then last year and this year - too many too keep track of. Every year I was excited about our progress in the Industry and honored for our team at RED to play a small but important part in seeing these movies come to life on the big screen.
The Sundance film festival is a pretty special environment, and it's really wonderful to see the work of so many talented movie makers taking risks and shooting absolutely wonderful work with our cameras.
Just a few of the movies to point out this year that are shot on EPICs, Scarlets or RED ONEs
Big Sur
The Spectacular Now
In a World
Newlyweeds
Sound City
Ass backward
A teacher
We are what We are
Concussion
C.0.G.
Here are a few random web links to some of them - there are a ton more links and commentary online if you are interested you can just search for em.
http://www.thedailybeast.com/articl...d-miles-teller-is-one-of-sundance-s-best.html
http://www.hollywoodreporter.com/news/sundance-lake-bell-corvettes-vocal-414997
http://www.hollywoodreporter.com/movie/big-sur/review/415013
http://screencrave.com/2013-01-24/sundance-2013-movie-review-cog/
http://www.deadline.com/2013/01/sundance-phase-4-lands-newlyweeds/
http://www.hollywoodreporter.com/risky-business/sundance-2013-eone-nears-deal-414651
http://www.thewrap.com/movies/colum...s-weinstein-company-acquires-concussion-73851
I'd like to point out a few stand out movies to me personally that I was lucky enough to screen, that I would strongly recommend seeing when they hit theaters in your area. These projects are so outstanding in so many ways, from the storytelling to the direction and vision of the project to getting them made on tiny budgets, to the stunning technical execution and use of the cameras.
We are what We are
Concussion
C.O.G.
In a World
DOPs David Kruta, Ryan Samul, Jas Shelton, David Mullen, and Seamus Tierney all drive their EPIC cinematography with wonderful skill creating fantastic cinema experiences on each of their projects. Some with Anamorphic glass, some with extreme low lighting creating super clean and glorious images, some with HDRx to deal with extreme dynamic range situations without a budget for strong lights and power runs to balance exteriors. Amazing wide shots showing off what real cinema resolution means, to super tight close ups showing off how pretty and joyous looking at all that picture info in the hands of an expert DOP really treats our eyes.
And on the grading and finishing side, my great friends at Lightiron (now both LA and soon to be NYC based) are behind In A World, and COG (and I'm sure many others too, they can tell you) making the EPIC footage sing with wonderful skin tones and overall look from the collaboration with the Directors and DOPs of the projects.
Here's a fun pix of my "feeding" the Director of We are what We are, Jim Mickle so much talent in this man in so many ways, there's a separate forum thread on Jim and his talent from my good buddy Mark Pederson that has worked closely with him on his last few projects.
http://www.reduser.net/forum/showthread.php?93160-Jim-Mickle-and-WE-ARE-WHAT-WE-ARE-Sundance-2013
And one more tech thing to note - We are What We Are and C.O.G. were both cut with native R3Ds (no transcoding) in Premiere Pro - proving what we have been cultivating about the future of post and working directly with the RAW 5k footage - it's really happening now and I think these forward thinking projects will be leading the way for many others. Pretty fantastic.
We were part of a seminar hosted by our friends at HP, talking about the ease and logic of moving into high rez shooting with RED, and being able to work, finish and deliver in 4k, showing real world examples from projects doing just that, educating the independent movie makers in the audience that there is nothing to be scared of. Got lots of good comments about the level of expertise from the panel and the amount of straightforward learning.
We had a small team of RED folk and close friends that help in so many ways at RED and with RED - Rique, Kris, Matt, Casey, Gavin, Mark, Caiti, Jendra, Kelsey and I were able to meet so many people using our Cameras and see lots of the screenings shot on RED thanks to our friends at Sundance (since all the screenings are full, even the midnight screenings and the 9am screenings). People are seriously passionate about the movies here, and really make the effort. We can only hope that the small start of our RED 4k film festival we did this year for the first time can grow into something that has the inertia and interest of Sundance some day.
And a big part of the fun is everywhere you go, in and out of the Airport, in line at the screenings, at the bars and restaurants socializing, trudging up Main St. or on the Park City Bus, heading to the next movie, someone comes up to tell me about their workings with RED on projects and how much it has enabled them to create their art at a really high level - fantastically satisfying and gratifying. Very often impromptu meetings would strike up and before I knew it there were a bunch of Directors, Producers, Actors, DOPs, ADs, Editors, Gaffers, etc. all taking about their last project on RED, or their next project that's getting ready to start shooting on RED.
On my Southwest flight home, met the DOP of Sound City, Kenny Stoff that used EPICs to shoot 1700 hours of footage for the doc (that's a fair amount of high rez footage and he told me that Sound City is playing at the Sundance theater on Sunset in LA next week, so I'll be sure to go catch that, as I imagine a lot of you will as well.
Lots more to talk about, and this post is plenty long enough already, so I'll leave it to the others that were at Sundance to comment more as they like. And I'm sure there were a bunch more features, docs and shorts at Sundance shot on RED that we weren't able to see, (4 movies a day is quite a lot of theater time so the movie makers, post houses, camera providers, etc. can let us know about their projects as well here.
Thanks for reading my Sundance ramblings. Its an honor to work in this biz and see the power of the results on the big screen.
+ Ted
I've been coming to Sundance for as long as I can remember (from the too long brown hair years, to the salt and pepper hair years to the mostly salt hair years these days
There are so many movies shot on RED this year at Sundance that it is impossible to keep track of them all.
I can recall a day when there were only a couple RED shot movies at Sundance, then the year where there were about 10, then the year after about 40, then the year after about 70, then last year and this year - too many too keep track of. Every year I was excited about our progress in the Industry and honored for our team at RED to play a small but important part in seeing these movies come to life on the big screen.
The Sundance film festival is a pretty special environment, and it's really wonderful to see the work of so many talented movie makers taking risks and shooting absolutely wonderful work with our cameras.
Just a few of the movies to point out this year that are shot on EPICs, Scarlets or RED ONEs
Big Sur
The Spectacular Now
In a World
Newlyweeds
Sound City
Ass backward
A teacher
We are what We are
Concussion
C.0.G.
Here are a few random web links to some of them - there are a ton more links and commentary online if you are interested you can just search for em.
http://www.thedailybeast.com/articl...d-miles-teller-is-one-of-sundance-s-best.html
http://www.hollywoodreporter.com/news/sundance-lake-bell-corvettes-vocal-414997
http://www.hollywoodreporter.com/movie/big-sur/review/415013
http://screencrave.com/2013-01-24/sundance-2013-movie-review-cog/
http://www.deadline.com/2013/01/sundance-phase-4-lands-newlyweeds/
http://www.hollywoodreporter.com/risky-business/sundance-2013-eone-nears-deal-414651
http://www.thewrap.com/movies/colum...s-weinstein-company-acquires-concussion-73851
I'd like to point out a few stand out movies to me personally that I was lucky enough to screen, that I would strongly recommend seeing when they hit theaters in your area. These projects are so outstanding in so many ways, from the storytelling to the direction and vision of the project to getting them made on tiny budgets, to the stunning technical execution and use of the cameras.
We are what We are
Concussion
C.O.G.
In a World
DOPs David Kruta, Ryan Samul, Jas Shelton, David Mullen, and Seamus Tierney all drive their EPIC cinematography with wonderful skill creating fantastic cinema experiences on each of their projects. Some with Anamorphic glass, some with extreme low lighting creating super clean and glorious images, some with HDRx to deal with extreme dynamic range situations without a budget for strong lights and power runs to balance exteriors. Amazing wide shots showing off what real cinema resolution means, to super tight close ups showing off how pretty and joyous looking at all that picture info in the hands of an expert DOP really treats our eyes.
And on the grading and finishing side, my great friends at Lightiron (now both LA and soon to be NYC based) are behind In A World, and COG (and I'm sure many others too, they can tell you) making the EPIC footage sing with wonderful skin tones and overall look from the collaboration with the Directors and DOPs of the projects.
Here's a fun pix of my "feeding" the Director of We are what We are, Jim Mickle
so much talent in this man in so many ways, there's a separate forum thread on Jim and his talent from my good buddy Mark Pederson that has worked closely with him on his last few projects.http://www.reduser.net/forum/showthread.php?93160-Jim-Mickle-and-WE-ARE-WHAT-WE-ARE-Sundance-2013
And one more tech thing to note - We are What We Are and C.O.G. were both cut with native R3Ds (no transcoding) in Premiere Pro - proving what we have been cultivating about the future of post and working directly with the RAW 5k footage - it's really happening now and I think these forward thinking projects will be leading the way for many others. Pretty fantastic.
We were part of a seminar hosted by our friends at HP, talking about the ease and logic of moving into high rez shooting with RED, and being able to work, finish and deliver in 4k, showing real world examples from projects doing just that, educating the independent movie makers in the audience that there is nothing to be scared of. Got lots of good comments about the level of expertise from the panel and the amount of straightforward learning.
We had a small team of RED folk and close friends that help in so many ways at RED and with RED - Rique, Kris, Matt, Casey, Gavin, Mark, Caiti, Jendra, Kelsey and I were able to meet so many people using our Cameras and see lots of the screenings shot on RED thanks to our friends at Sundance (since all the screenings are full, even the midnight screenings and the 9am screenings). People are seriously passionate about the movies here, and really make the effort. We can only hope that the small start of our RED 4k film festival we did this year for the first time can grow into something that has the inertia and interest of Sundance some day.
And a big part of the fun is everywhere you go, in and out of the Airport, in line at the screenings, at the bars and restaurants socializing, trudging up Main St. or on the Park City Bus, heading to the next movie, someone comes up to tell me about their workings with RED on projects and how much it has enabled them to create their art at a really high level - fantastically satisfying and gratifying. Very often impromptu meetings would strike up and before I knew it there were a bunch of Directors, Producers, Actors, DOPs, ADs, Editors, Gaffers, etc. all taking about their last project on RED, or their next project that's getting ready to start shooting on RED.
On my Southwest flight home, met the DOP of Sound City, Kenny Stoff that used EPICs to shoot 1700 hours of footage for the doc (that's a fair amount of high rez footage
and he told me that Sound City is playing at the Sundance theater on Sunset in LA next week, so I'll be sure to go catch that, as I imagine a lot of you will as well.Lots more to talk about, and this post is plenty long enough already, so I'll leave it to the others that were at Sundance to comment more as they like. And I'm sure there were a bunch more features, docs and shorts at Sundance shot on RED that we weren't able to see, (4 movies a day is quite a lot of theater time
so the movie makers, post houses, camera providers, etc. can let us know about their projects as well here.Thanks for reading my Sundance ramblings. Its an honor to work in this biz and see the power of the results on the big screen.
+ Ted
Attachments
Last edited:
