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RED camera shoot for short movie I just got off a shoot where I was the AC using the new RED camera. The shoot was "The Horseman" by Ben Bays, the DP was John Pope and the RED owner is CJ Roy.The whole shoot was a grand experience; it had a great crew and a very fast paced shooting schedule. The weather for the most part was on our side, if you consider freezing temperatures acceptable.While it was often very cold the RED preformed well. The hard drives are not ready for the public yet, so we had to use 8 GB media cards that held 4 minutes of data before having to be swapped out and uploaded to a computer. There were a few glitches, nothing a reboot wouldn't solve. Very odd to be talking about a camera and rebooting in the same breath. But in its essence the RED is a computer with a lens.The sensor chip is huge compared to all the other digital/HD cameras I have worked with, of course being 4k it should be. So pulling focus is more like focusing on 35mm film than the other cameras with a smaller sensor, due to having to focus on such a large surface.All in all, what little issues we had were overridden by its flexibility and versatility, improvements are made all the time, so the RED is only getting better. I have no doubt that this camera is the future of moviemaking. |
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The DIT used a Mac - as
The DIT used a Mac - as some of the software is only for Mac at teh moment.
Adobe
The color of the object illuminated partakes of the color of that which illuminates it. ~ Leonardo da Vinci
How's the film looking so
How's the film looking so far? You should definetly post some stills here when you get the chance.
The Future
TheRed, certainly looks positive, and if you have 35mm accessories - Lenses, Follow Focus, Mattebox, etc. You can get away pretty cheap, and if you rent out, probably command a high premium for the next year or so.
Dalsa Evolution, Panavision Genesis also have super 35mm sized sensors, and the Dalsa is 4K (not sure the Genesis.)
Pixel count is not directly tied to the size of the sensor. I think the RED sensor is Super 35mm sized, so that gives you your depth of field.
Phantom makes an HD camera, as well as a 65mm sensor. Mostly for High speed work, but they are being adapted to be used in regular movie environments.
No ONE camera will be the future of making films.
Steven Gladstone
Director/Cinematographer
http://www.gladstonefilms.com
Steven, I gently beg to
Steven,
I gently beg to differ - on the subject of the RED being future of moviemaking.
I don't mean to say that the RED will be the standard to which all cameras will rate themselves against for the next 5 or 10 years, or that it is or will be the only solution to shoot on.
Not only does it have a great image at a very reasonable price, I believe it is constructed in a way that rethinks how a image is captured in a digital medium. Instead of a build a digital camera to act like a film camera, it’s more like they built a computer to capture a digital image.
Now I might be wrong - but I feel more companies will follow that same format - of computer based digital capture at a low price - that is what I see the future as. Now I hope the RED Digital Cinema will be around a long time - but if I am wrong I believe the RED camera or at least its concept will be a great footnote in the history of cinema.
Adobe
The color of the object illuminated partakes of the color of that which illuminates it. ~ Leonardo da Vinci
Ahhh, finally a discussion
Intersting way of discussing it.
It isn't film, but it isn't video either. I've heard it discussed as more like a DSLR.
My exposure is to it is sadly terribly limited. I do think Jim Jannard ought to be my hero. Hooray, an American company manufacturing a Motion image Camera.
Now the computer part, building a computer to capture digital images. The computer isn't really capturing the images, it is running/controlling the "Mysterium" imager. Probably managing the data flow, and cerainly monitoring the output ports, and how the data is massaged there.
A film Camera when it comes down to it does two things. Transports the film, and holds it steady during exposure. The film is the Imaging device. Sync sound cameras did this, while being quiet as well.
The image was formed by the Composition, Lighting, Exposure, Choice of lens, and any post work, such as flashing, push pulling development, printing choices, print stock.
The F-23 from Sony has a setting that basically "dumbs down" the camera. So that you are locked out of changing the Black Gamma, the strectch,m the knee, etc. etc. Haven't worked with the F23 yet, but went to a demo. Looks excellent I hear there is an F 35 coming from Sony which uses a PL mount and a 35mm sized sensor.
I personally want a camera that out of the box Shoots 24, with a 180 degree shutter. If I want something different I want a controller for that. That wasy I don't have to dig through menus (On Film Cameras or Electronic capture cameras.)
I also want an imager that doesn't keep processing my image to make itself happy.
I think it is coming.But the more control we give to the cameras, the more control as Cinematographers we risk loosing.
Steven Gladstone
Director/Cinematographer
http://www.gladstonefilms.com
whoa...
I thought filming was just pressing dat red button and aiming it at nice pictures... :)
Imagers that keep processing
Shooting with most video cameras is like constantly fighting withthe imager, which wants to have everything average out to a nice even grey. The newest imagers seem to do this much less.
However there is soo much processing go on in Elecronic capture cameras. Either the bayer filter patterns, and the interpretation of the image based on that for a single sensor camera, or the combining of the image from the 3 CCD (and don't forget pixel shift.) then all the image processing that goes on just to get the image onto either tape or other digital storage.
I was watching the football game last night, interesting to watch on of the players being interviewed after the game. His arm was bouncing around where it stuck out from his short sleeve Jersey. Obviously some compression going on there, the only question was where? In the camera, or the recording device, or the transmission?
Steven Gladstone
Director/Cinematographer
http://www.gladstonefilms.com
Discussion Indeed
Steven,I would love to argue or at least come up with a counter view, so we may have more dialogue - but I can't, I completely agree.I enjoyed the RED and would love some experience on film, as it is my realm has mostly been video on a little more than a handful of cameras varying in price and quality. Most of the time it is a struggle of compromises from what I want, to what the camera will agree with. The saddest experience is the short I shot last week with the HV20 - a very cost effective HD camera - but there is no pure manual setting - the shutter speed can be lock but the exposure is auto - or the exposure can be locked but then the shutter will be on auto - no happy medium.Then editing - first time cutting in HD - and passing data from Premiere to After Effects or Photoshop then back - maybe its me but the world seemed simpler with film - as you mentioned above about the compression issue - seems there is so much more to take care of than just capturing an image - the only thing that seems the same is the light hitting the lens after that its an open field - great if you have a solid workflow - but don't get married to it - because in a year it all changes.I don't want the above to sound negative - life on set for me is a blast - I have never been so poor, nor have I been this happy. I look forward to every challenge.Enjoy,Adobe
The color of the object illuminated partakes of the color of that which illuminates it. ~ Leonardo da Vinci
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