Welcome to our community

Be a part of something great, join today!

Log in
  • 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 :)

What about Red One ?????????

The Informant is hilarious. And the music is perfect. Plus I thought it was shot in natural light (in other words, the camera worked wonders given the shooting conditions.)

Theoretically, the REDone will be relevent until 4k aquisition is too low (e.g. what we consider Standard Def now) or other technologies (like HDR or ultra-extreme-lowlight capabilities) are the norm.

BETTER yet, it will longevity similar to a given filmstock; only being replaced when something better comes along at the same cost.
 
my question is: would you buy a RED ONE M now? or only if a RED ONE MX? i can't wait for the EPIC to shoot. never had a RED one ever, so i need a camera and even thou we know that the MX is better than the M, its too expensive for me now. am i being stupid by buying a Red One M RIGHT NOW?
 
Jon MIchael Puntervold said:
Grungy look is not over. Punk is not over. If audiences can't see a film because its not made to look like a shampoo commercial, they can stay home...
Click to expand...

That kind of attitude is pretentious indeed. Try telling that to your investors in the real world. Perhaps you imagine they will applaud you for your holier than thou holiness and rush to the bank to get you more money rather than fire you.

Besides, unless one is totally lacking in creativity there is more to cinematography than just the extremes of ugly grunge and shampoo commercials. Classic films vary cinematography based on scenes and context, they are not just one-note shoulder-mounted ugly messes, even in tender romantic moments.
 
Stephen Pruitt said:
Having just watched "The Informant" for the first time two nights ago, I have to say that the great Mr. S. could have shot that film with an HVX and a Redrock M2 and done no worse. That film looked atrocious! I was shocked and actually ashamed to have mentioned to our friends that "The Informant" was one of the first films shot on the RED.
Click to expand...

:-D
Don't watch his The Girlfriend Experience
The Informant actually wasn't THAT bad...
 
Dennis Guskov said:
:-D
Don't watch his The Girlfriend Experience
The Informant actually wasn't THAT bad...
Click to expand...

The GfE wasn't bad because of how it looked (most of the time)... it was bad because it was (objectively) fairly boring/slow and kind of dumb. You can't even call it a character study or a comment on the economic crisis/obama election because the story didn't hinge on those things (it was merely mentioned) and because the characters had no depth.

What I thought hurt the visuals most in both movies were how good exteriors looked compared to interiors. Any time you were outside, the colour rendition was great, the resolution showed, and it looked like any other exterior shot. When it was interiors, it turned into an orangey, noisey mess, that only worked in a couple of scenarios/scenes/shots.
 
Mike P. said:
The GfE wasn't bad because of how it looked (most of the time)... it was bad because it was (objectively) fairly boring/slow and kind of dumb. You can't even call it a character study or a comment on the economic crisis/obama election because the story didn't hinge on those things (it was merely mentioned) and because the characters had no depth.

What I thought hurt the visuals most in both movies were how good exteriors looked compared to interiors. Any time you were outside, the colour rendition was great, the resolution showed, and it looked like any other exterior shot. When it was interiors, it turned into an orangey, noisey mess, that only worked in a couple of scenarios/scenes/shots.
Click to expand...

no argument here...
:)
I simply said that if he didn't like the way Informant looked, then he shouldn't bother with GF Experience, because his head would probably explode with indignation! I think it was an experiment, that's all... and not necessarily on us :)
 
For what it does contrasted against the capabilities of the human eye, I don't think the Red One will ever be 'obsolete'. There will be better, cheaper alternatives in the future, and as Red would have it the future is almost here, but rendering a technology truly obsolete is actually a pretty difficult task.

If and until holograms are perfected and we actually shift to that art form, the camera will basically remain the camera. Obsoleance through evolution is a very slow process.

Bob
 
Bob Gruen said:
For what it does contrasted against the capabilities of the human eye, I don't think the Red One will ever be 'obsolete'
...
Obsoleance through evolution is a very slow process.

Bob
Click to expand...

I think you've hit the nail on the head here. And despite all the excitement that has built up during the wait, Epic is really just the next step; an improvement on the Red One. It doesn't devalue the R1's performance, just tops it.
But for us stage-4 non-owners, what's probably more pertinent is re-sale value due to the perception of obsolescence (this is how we are used to progress in technology working these days)... for this reason alone I think the O/P may be best off renting an R1-MX for now.
 
I haven't seen "The Girl Friend Experience," and I'm glad I didn't waste any money trying to see it if what you folks are saying about it is true. As for shooting using a lot of natural light, that's absolutely no excuse. We try to shoot in natural light all the time with the most minimal assistance from sources, but, unlike "The Informant," when we shoot an interior we actually find the three minutes it takes us to replace the 100 watt incandescent bulbs with 15 or 25 watt versions so as to not blow the doors off the sensor.

Truthfully, I think "The Informant" is the worst example of film lighting I've ever seen and by far the worst "advertisement" for RED cameras ever. Bar none.

Interesting, I did a little reading over on the cinematography forums, and those folks are almost universal in their dislike of the look at that film. Maybe it was an experiment, but, if it was, it was an experiment that should have been classified as an abject failure from the first screen test. Truly, in this case, at least, the Emperor had no clothes.

And, as it happens, I happen to like shampoo commercials.

:-)

As to the point of the original poster, what I want to see if a side-by-side test of how closely Epic at its best compares with the One at its best. I would love to be able to continue using the One down the road, but if the Epic blows it away and shots done with the RED One will stick out like a sore thumb, then maybe it is nearing the end of its useful life. I won't be happy about it, but that's technology!

Stephen
 
Stephen Pruitt said:
As to the point of the original poster, what I want to see if a side-by-side test of how closely Epic at its best compares with the One at its best. I would love to be able to continue using the One down the road, but if the Epic blows it away and shots done with the RED One will stick out like a sore thumb, then maybe it is nearing the end of its useful life. I won't be happy about it, but that's technology!

Stephen
Click to expand...

OK, I think this will not be the problem. If 5k or 4k...hmmm. At the moment most of digital cinema is done in 2k ;-)

I´m most afraid that EPIC or SCARLET will kick the Red One out of further development and some bugs (like EVF-solarize-bug) will never be erased...

I know from other american companies that they stopped all developments after "enough" solds and some really nice inventions were send to the grave...

I don´t think that this will happen at RED, but I´m a little bit worried about that...

Cheers

Alex
 
You must log in or register to reply here.
Back
Top