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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 :)

The Book of Eli...

Hi Guys, I'm a rigging grip on Book of Eli, IATSE Local 480 New Mexico, and a big fan of RED, don't own one yet but can't wait till the Scarlet comes out ! I sent an email to red asking how to pre-order one, no response.. can I get on the list for a scarlet 2/3?

As far as Book of Eli, we just finished rigging a redicuous lighting array for the first scheduled shoot, 2 50'x50' truss grid systems hanging from 20 chain motors, each 50'x50' array has probably 50 Image 80's on it, I probably shouldn't say too much about it but the sets are absolutely amazing!
 
Dylan Kelling said:
Hi Guys, I'm a rigging grip on Book of Eli, IATSE Local 480 New Mexico, and a big fan of RED, don't own one yet but can't wait till the Scarlet comes out ! I sent an email to red asking how to pre-order one, no response.. can I get on the list for a scarlet 2/3?

As far as Book of Eli, we just finished rigging a redicuous lighting array for the first scheduled shoot, 2 50'x50' truss grid systems hanging from 20 chain motors, each 50'x50' array has probably 50 Image 80's on it, I probably shouldn't say too much about it but the sets are absolutely amazing!
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Welcome. Hope to meet you on set...

We aren't taking reservations yet for Scarlet or Epic. We still don't know half of what we are doing. :-)

Jim
 
Tico said:
Boy, if you guys don't know what you're doing, who does?

:unsure:
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marketing dude.. marketing.. just it.. well done actually :calm:
 
Yeah, congratulations. It's a clear choice to pick RED.
 
The film is to begin shooting within 10 days. Unfortunately RED Cinema provided the cameras to the production instead of going with a LOCAL NEW MEXICO RED CAMERA RENTAL COMPANY!
 
gdv said:
Yes it is. That could have been the case.
If it was I just like to know from a business aspect.
However production would still have needed, technical support, lenses, FF, filters, legs heads, monitors etc.
It could have been that some kind of a camera came from Red, rented from Red, bought from Red and the rest of the complimentary gear came from a rental house.
If possible I would like to know.
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Well, that's a very good question as I am one of the owners of a New Mexico based rental house called EQUIPO! We rent RED Cameras, Lenses, Cranes, remotes and dollies. We were told by the Book of Elli production that they got the cameras provided for free. When we inquired about this we were assured by RED that this was not the case!

Congratulations for getting the show. If additional support or second unit is called for, we certainly hope that RED will support us! www.equiponm.com
 
imageminister said:
Well, that's a very good question as I am one of the owners of a New Mexico based rental house called EQUIPO! We rent RED Cameras, Lenses, Cranes, remotes and dollies. We were told by the Book of Elli production that they got the cameras provided for free. When we inquired about this we were assured by RED that this was not the case!

Congratulations for getting the show. If additional support or second unit is called for, we certainly hope that RED will support us! www.equiponm.com
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We don't give anything away for free... except service for all.

Cameras used on this movie were purchased.

Jim
 
Congratulations Jim & Red team for this accomplishment!

Please keep us updated on all the milestone!

Dave
 
Joel Kaye said:
Congrats. To me, the fact that any large budget movie would use RED is a true testament to how great the camera is.

9 months ago I rented a PL lens and the local rental guys proceeded to tell me RED wouldn't replace a 435. Fair enough. He even went on to explain to me why RED sucked though it was clear to me he didn't have a clue what he was talking about. 2 months ago the same guy told me they hadn't rented their 435 in 4 months but they were renting their lenses all the time. They were going out on RED shoots. They since ordered multiple REDs.

There are still some guys out there poo pooing RED. They're just making themselves look stupid at this point.
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Yup but with what fervor. Ignorance and fear driven if you ask me. Here are a couple shots of what looks like a Sony Panavision shoot out that took place. What I find particularly disturbing is the B.S. they are putting out there!

Anyone know about this so called "ACR" shoot out?
 
I believe that this "shootout" was sponsered by the Producers guild and the ASC and was shot by many DOPs with 8 HD cameras and 35mm. Should be an interesting test. Included Genesis,RED,Sony F35 , Arri D-21 and a few other cameras.
 
so Evin tell us :wink:
 
imageminister said:
Yup but with what fervor. Ignorance and fear driven if you ask me. Here are a couple shots of what looks like a Sony Panavision shoot out that took place. What I find particularly disturbing is the B.S. they are putting out there!

Anyone know about this so called "ACR" shoot out?
Click to expand...
Peter is mostly correct. The "Camera Assessment Series" was a collaboration between the Producer's Guild and the ASC to document the workflow and performance for seven digital film cameras and a 35mm film camera. The cameras that participated were: Red One, Panavision Genesis, Arri D-21, Thomson Viper, Sony F35 and F23, Panasonic 3700, and Arri 435 (film).

The two day shoot was held Jan 10 and 11 at Universal Studios, and featured ten setups which tested specific camera functions like latitude, motion blur, noise, and green and blue screen.

Each location had an ASC DP light and supervise it, and each camera had it's own DP to ensure that it performed as well as it could given the conditions--which were controlled. Nancy Schreiber was the RED DP and she did a fabulous job. Each camera was followed by a behind the scenes crew which documented everything from prep time to on set performance to delivery of DPX sequences for DI.

The footage from each camera was transferred to 10bit DPX and delivered to Laser Pacific for DI, which will happen next month. The whole goal of the assessment was to critically evaluate the workflow of each camera, not do a side-by-side comparison of the pictures they captured, the idea being to give producers and DPs a clear idea of the positives and negatives associated with using the various digital cameras. The long-term goal is to make this an ongoing evaluation of the latest and greatest in digital acquisition.

It was an amazing couple days featuring some incredible DPs, producers, manufacturers, and crew, each donating time, and in many cases, equipment because they believed it was important to get this information out. I was the producer with the RED camera, and I have to say that I'm very excited to see the results next month.
 
Thanks for straightening everything out there Paul. I am really excited to see the results as well. These types of tests can be so productive if done properly. The theory of an individual critical analysis instead of the popular camera shoot-out technique is a big step in the right direction IMHO.
 
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