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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 :)

Will people buy REDs in 2009 with EPIC and SCARLET around?

Then of course... Red PWNAGE 10K IMAX. :)

Jim are you guys still considering the format of the Epic sensor? 16:9, 4:3, etc? Or has that already been decided?
 
I believe RED still has 2000 more RED ONE cameras to deliver to customers, so perhaps a slowdown in RED ONE sales due to Scarlet and EPIC would allow them to catch up! :wink: In other words, I wouldn't worry about their RED ONE sales figures... seems like they'll have their hands full building them for years to come.
 
Tom said:
Then of course... Red PWNAGE 10K IMAX. :)
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What would you need to do IMAX digitally anyway? Because whatever the resolution of Imax film is, wouldn't it be different if you are using a non-film camera without jitter, etc.. ? Does EPIC come close? Or is it still nowhere near it?

I haven't gotten the same feeling as when I look at Redcode on my monitor at home in Redcine at high quality until I saw the Imax scenes in Batman... It felt oddly familiar... And when it cut from 35mm to Imax, it felt like switching from a DVD on a TV to Redcode on my 23" display from a few feet away..

I know they didn't shoot the whole thing in Imax due to budget etc, but it really seemed like they shot it on both formats on purpose.. Whenever it would intercut back and forth between 35mm and Imax it just seemed like the real plan was to really hammer the point home about just how amazing narrative features are in Imax. I never want to see another movie again unless its shot in Imax from start to finish! The whole time I just kept wishing Batman was in Imax the whole time..

A narrative feature shot in Imax is way more exciting to me than 3D cinema, which all the studios seem to be pushing as the future of going out to the movies.. I wish it was IMAX (Imax that was'nt deep focus, 30 min long mediocre docs... mediocre docs which turn amazing due to Imax etc...
 
I was truly exhilarated at the sight of them clearly STRUGGLING to maintain proper focus in a lot of the IMAX scenes.

I've never seen a film in IMAX shot that way, with good sound like that, with all that dynamic cutting. I just want to see narrative features in IMAX for the rest of my life.. . IMAX IMAX IMAX


sorry to hijack this thread... maybe Jim is actually glad...


Nolan talked about how they had to watch how fast they panned with IMAX cameras because of "strobing issues," whatever that is.. Maybe it's similar to skew, haha.
 
I think the future is 3D movies, personally, I love IMAX but I love IMAX 3D better. To get me to go back to theaters with the same regularity I once did, I need to be given something better than I can get at home. It's pretty unbelievable to me that in 2008, that's what it's come to, that I can get better quality at home than I can get in a movie theater. First off, when I saw Hancock a few weeks ago, I kept hearing clicks from the sound, and then you see those miserable cigarette burns because they're still projecting in film, a 100-year-old, outdated, lousy technology that ruins the movie-going experience. I would much rather they just put it on Blu-ray disc and project it in 1080p, it would both look and sound better than their film prints, which right off the bat are lousy quality. It's just not acceptable to pay $10 or more for a movie, and have to get out of my house, into my car, spend money on gas that's way too expensive, all so I can go to a theater and get a much worse, less comfortable (I don't control the temperature, and the theaters aren't comfortable seating compared to my massage chair at home) experience than I would if I just waited for the DVD.

Now if you can give me a digitally projected film in 3D, like the company In-Three was doing with the first ten minutes of Star Wars: A New Hope, that would be pretty amazing. I saw some boring documentary about Kelp in IMAX 3D and even that was amazing, even though it was obviously not interesting or well done, just seeing the sea underwater like that and it looking like it was literally coming right at me was an amazing experience. The space movie was awesome, that's a better example, that's the future of cinema. Get me off my couch, give me something I cannot see anywhere else, that I cannot duplicate at home. Then, I will come back and start shelling out $10+ per movie. Otherwise, I'll buy my Blu-ray movies at discount for about $15/each, which is what I've paid so far (there are some great sales on Amazon if you watch for them, I got Terminator 2 for about $12, and The Fifth Element for $14.45), and be much happier not having to get in my car.
 
I assume that no one here in Africa unless they are supporting Hollywood features will be running for an Epic very soon. NOT!:bleh:

Actually I know one guy who says he's going for an Epic next year, there 2 of us guys who are saying we'll buy the RED and anyone who wanted a RED then Scarlet was announced wants a Scarlet, like say 10 guys I know.

For us guys who were about to buy the XDCAMs (1/2 inch) for $8,000 to $25,000, imagine what the RED revolution will do here.

Right now I am about to purchase my second round of gear to be RED Post ready to be able to edit 4K in real time ( I know, I'm mad ... for now).
 
at jlb:going to the theater is not just about a movie...one of your arguments is like you dont want to go to a disco, because you have a better sound station at home.

...but i agree with other points.
 
JonathanLB said:
(George, George) I think the future is 3D movies, personally, I love IMAX but I love IMAX 3D better. To get me to go back to theaters with the same regularity I once did, I need to be given something better than I can get at home. It's pretty unbelievable to me that in 2008, that's what it's come to, that I can get better quality at home than I can get in a movie theater. First off, when I saw Hancock a few weeks ago, I kept hearing clicks from the sound, and then you see those miserable cigarette burns because they're still projecting in film, a 100-year-old, outdated, lousy technology that ruins the movie-going experience. I would much rather they just put it on Blu-ray disc and project it in 1080p, it would both look and sound better than their film prints, which right off the bat are lousy quality. It's just not acceptable to pay $10 or more for a movie, and have to get out of my house, into my car, spend money on gas that's way too expensive, all so I can go to a theater and get a much worse, less comfortable (I don't control the temperature, and the theaters aren't comfortable seating compared to my massage chair at home) experience than I would if I just waited for the DVD.

Now if you can give me a digitally projected film in 3D, like the company In-Three was doing with the first ten minutes of Star Wars: A New Hope, that would be pretty amazing. I saw some boring documentary about Kelp in IMAX 3D and even that was amazing, even though it was obviously not interesting or well done, just seeing the sea underwater like that and it looking like it was literally coming right at me was an amazing experience. The space movie was awesome, that's a better example, that's the future of cinema. Get me off my couch, give me something I cannot see anywhere else, that I cannot duplicate at home. Then, I will come back and start shelling out $10+ per movie. Otherwise, I'll buy my Blu-ray movies at discount for about $15/each, which is what I've paid so far (there are some great sales on Amazon if you watch for them, I got Terminator 2 for about $12, and The Fifth Element for $14.45), and be much happier not having to get in my car.
Click to expand...

Hey Jonathan, If Larry David did the voice over for this post, Seinfield's Mr Steinbrenner would come to life. Just add George to the dialogue.
 
Jannard said:
Let's talk about the beauty of the lineup... 3K (2/3" sensor) at $3K. 4K (4.5K at 2.40:1) with a full frame sensor for $17.5K. 5K (with lots of secret sauce and surprises) with a full frame sensor for $40K. But ALL of them shoot REDCODE. In a few weeks there will be full support for multiple platforms in post. The same file type in each camera. The same workflow for each camera. And the same accessories (mostly) for each camera.

Jim
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Nice. All reasons why I have to pinch myself everyday to know I'm not dreaming.
 
K.Berlin said:
at jlb:going to the theater is not just about a movie...one of your arguments is like you dont want to go to a disco, because you have a better sound station at home.

...but i agree with other points.
Click to expand...

There is something magical about the lower light levels a film projector uses compared to a digital one.. That darkened theater and low lumens just warms my heart in ways that a digital projection hasn't.

Digital 4k projection has warmed my heart in other ways though :shifty:


I've seen IMAX 3D, it was completely amazing, but the 3D effect seemed to cut the screen's size in half... Something was kind of strange. I enjoyed the IMAX stuff in Batman way more than IMAX 3D... Different strokes...
 
I can't really see SCARLET diminishing RED ONE sales. There are a lot of people out there like me who just can't justify spending $5k-$10k per lens and $20k for a camera body. There are also practical matters of size, setup and operation that make RED ONE not suitable for my approach to shooting footage (bitage?), but that SCARLET should do really well.

On the other hand, I can see EPIC biting into RED ONE sales... but I think that's somewhat intentional. They serve the same 35 mm digital cinema niche. I suspect when EPIC comes out, most who would buy a RED ONE would deep down prefer an EPIC, but it will come down to cost-benefit analysis.

Jim's point about all the cameras sharing codecs appeals to me greatly. The advent of SCARLET will strongly encourage broad support of REDCODE in editing suites, as there will be a significant user base requiring software solution. This in turn will drive down the price of post solutions for RED ONE and EPIC users. When SCARLET becomes the film-school standard, there will be a wealth of people with significant REDCODE workflow experience available to the market.
 
zak forrest said:
Nolan talked about how they had to watch how fast they panned with IMAX cameras because of "strobing issues," whatever that is.. Maybe it's similar to skew, haha.
Click to expand...

It's because the IMAX film runs through the camera sideways, so if you pan quickly, you get the doppler effect, where you kinda bend time because frames aren't moving the same speed relative to their environment anymore.

So I guess it's kinda like the skew in why, but different in effect/results.
 
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