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  1. #1 Summary So Far 
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    It is very early in, perhaps too early to judge, but what has impressed you most so far? Any disappointments?

    I must say, of all things the video footage impressed me most. That 8 second clip of a guy moving his head about - when I played with it in after effects, i could really bend the bastard colourwise and still get no annoying banding or what have you.
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  2. #2  
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    The dude is Tv and internet sensation... REDUSER'S very own... Brook Williard-- Red Ninja!!!

    LOL... sorry too many Bruce Lee flicks.
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  3. #3  
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    So THAT'S brook. Haha. I would never have guessed from the photo alone! He really doesn't look like a Brook Willard really!
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  4. #4  
    REDuser Sponsor Brook Willard's Avatar
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    Heheh...
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  5. #5  
    Don´t be to mad now but I actually think both the clip of Brook and the clip of the car going out of the parkinglot looks kind of videolike. The quality is stunning but it doesn´t look like film to me.
    Is it the lack of grain?
    Don´t get me wrong I really think you can light and tweak the pictures so it looks more filmlike. I´m just curious if you agree when I say it doesn´t look like film and if so, why? And do you think it´s a problem?
    I ordered my own RED today by the way.
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  6. #6  
    So far, I have to say that the big issue, IMO, is that we're asking the shooters to telecine their own stuff. This is going WAY beyond what is usually asked of a DP on set with electronic "painting" and is the new way of working... and will take some getting used to.

    They need a colorist with them to do do some very basic setup (or at least someone completely familiar with the in's and out's of RED ALERT... and that's what? Three people in the world at this point?)
    Jim Arthurs
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  7. #7  
    That's the major problem right now.

    Tough I submit that it would suffice with a digital photographer that's familiar with RAW process.
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  8. #8  
    Senior Member Roberto B's Avatar
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    hey jim, leave your ass out of your colorado's chair and fly to LA.. you'd be welcome and useful over there..
    "The BBC alow the EX1/3 to be used on SD productions, the 5D is not considered aceptable to the BBC for SD Production"

    the most funny post ever is courtesy of gang's good friend.. mr Williams.. old stephen
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    link to gang's former avatar
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  9. #9  
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    Quote Originally Posted by orre View Post
    Don´t be to mad now but I actually think both the clip of Brook and the clip of the car going out of the parkinglot looks kind of videolike. The quality is stunning but it doesn´t look like film to me.
    Is it the lack of grain?
    Don´t get me wrong I really think you can light and tweak the pictures so it looks more filmlike. I´m just curious if you agree when I say it doesn´t look like film and if so, why? And do you think it´s a problem?
    I ordered my own RED today by the way.
    I think it looks like neither. It looks like new-wave digital i guess you could call it. I think the complete lack of grain in well lit situations has something to do with it. Also - RED still comes nowhere close to the latitude of film, which can be pushed to 17-18 stops.

    12 stops is still pretty phenomenal mind you, but I am suggesting that may be another one of the differences. Plus film has a smoother roll off on the highlights than digital (including RED).

    I guess our litmus test for this ungraded red footage would be that compared to ungraded film. How would they compare?
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  10. #10  
    Quote Originally Posted by filmmaker's gang View Post
    hey jim, leave your ass out of your colorado's chair and fly to LA.. you'd be welcome and useful over there..
    Hah! I was in LA for a visit in '86 or '87. I bet nothing's changed... :)

    Seriously, I like some of you here, am really wanting to see some careful shots in a variety of conditions that don't involve sodium street lights or stressed out light starved sensors, footage that feels like these talented guys were PAID to shoot it. It looks like there's some material coming with actors and bit of lighting setup, so that's promising.

    And I wouldn't mind something, ANYTHING, shot under that uber-large HMI that's out in the sky for roughly half of the 24 hours that makes a day...
    Jim Arthurs
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