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Jim to open "Red Ranch" prod. facility in Las Vegas


Carl Brighton
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Since when was that ever an obstacle to making a sequel?

 

Yeah you're right....the studio will most likely drive a dump truck full of money up to my door :D

 

After all if you can make sequels to Blair Witch and Open Water, you can make a sequel to any thing!

 

Sp Epic is a new Red camera? Hmmm, very very interesting.

 

R,

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Maybe Tom would like to chime in here.

 

:lol:

 

I have called Epic 5K the film slayer. I think because the resolution of this camera is a more legit "true 4K" and because it is seriously being built specifically for high-end, studio-financed cinema work, it will be one of the pivotal cameras in the transition from film to digital in cinema - maybe similar to Canon's 1D line with SLRs.

 

My prediction is that more major-studio features will be shooting digitally by the end of 2010 (Dec 30th) than will be shooting on chemical film. I think Epic will have a lot to do with this, if the camera is released anywhere near on time. But obviously there are new offerings coming from Sony, Arri, Panasonic, etc, as well.

 

I'm sure a lot of people will claim I am full of crap and that we have all heard these predictions before over the last 15 years, etc. Let's wait and see.

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:lol:

 

I have called Epic 5K the film slayer. I think because the resolution of this camera is a more legit "true 4K" and because it is seriously being built specifically for high-end, studio-financed cinema work, it will be one of the pivotal cameras in the transition from film to digital in cinema - maybe similar to Canon's 1D line with SLRs.

 

My prediction is that more major-studio features will be shooting digitally by the end of 2010 (Dec 30th) than will be shooting on chemical film. I think Epic will have a lot to do with this, if the camera is released anywhere near on time. But obviously there are new offerings coming from Sony, Arri, Panasonic, etc, as well.

 

I'm sure a lot of people will claim I am full of crap and that we have all heard these predictions before over the last 15 years, etc. Let's wait and see.

 

Hi Tom,

 

I don't think that resolution was ever a problem with Red One, I am more bothered by reliability, dynamic range & codec errors. After IBC 2 years ago Jim claimed Red One had a greater dynamic range than a Viper. From my own tests, I don't believe it does as yet. Build 17?

 

Stephen

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:lol:

 

I have called Epic 5K the film slayer. I think because the resolution of this camera is a more legit "true 4K" and because it is seriously being built specifically for high-end, studio-financed cinema work, it will be one of the pivotal cameras in the transition from film to digital in cinema - maybe similar to Canon's 1D line with SLRs.

 

My prediction is that more major-studio features will be shooting digitally by the end of 2010 (Dec 30th) than will be shooting on chemical film. I think Epic will have a lot to do with this, if the camera is released anywhere near on time. But obviously there are new offerings coming from Sony, Arri, Panasonic, etc, as well.

 

I'm sure a lot of people will claim I am full of crap and that we have all heard these predictions before over the last 15 years, etc. Let's wait and see.

 

Hi Tom,

 

I'm claiming your full of crap!

 

best,

 

Keith

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Tom, if you want to be a part of an industry that scoffs anything but digital and is arrogant enough to not notice the advantages that film has, you really ought to consider still photography instead of filmmaking!

 

Filmmakers aren't going to jump shift like stills guys did because it was entirely based on cost in still photography. Paying a million dollars to wire a building to blow up for ten seconds worth of screen time really relegates film stock cost to the back burner.

 

You'll need digital cameras that have *better* dynamic range, *better* resolution etc. to get a switchover, and even then, some filmmakers are very nostalgic. Film is a love affair for them.

 

So good luck with your prediction. If it doesn't come true, you can always watch "2001" and "2010" to pretend you're in that fictional digital futuristic society.

 

Although, when I watch it, I don't agree with my past professor that they had a digital camera in teh moon base conference room scene. To me it looks like a 10,000ASA film camera :P

 

But even if the trend shifts to digital, I will go down like so. . .

 

post-1018-1218219605.jpg

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Yeah but Karl isn't that Custer's Last Stand?

 

If so we know how that one ended.

 

I think you should have used a depiction from the Alamo, or the Bay Of Pigs, or....ahhhh forget it.

 

R,

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Okay, so I have Max and Stephen stepping up to the plate? 20 Bucks USD each? I accept. Payable through paypal, or emailing a $20 amazon gift certificate or something along those lines. Sound good?

 

The wager is, I assert that: "more major-studio features will be shooting digitally by the end of 2010 (Dec 30th) than will be shooting on chemical film." Meaning that in Dec 2010, more major features currently in production at that time will be shooting digital rather than chemical.

 

I'm not sure exactly how we will know for sure (maybe IMDB tech specs?), but actually I would not be surprised if my prediction is a little on the conservative side. ;)

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Okay, so I have Max and Stephen stepping up to the plate? 20 Bucks USD each? I accept. Payable through paypal, or emailing a $20 amazon gift certificate or something along those lines. Sound good?

 

Hi Tom,

 

I am comfortable with $500, surely you will risk more than $20? Paypal works for me. David Mullen can be the judge if there is any doubt in the matter.

 

Stephen

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$20 is too low, where's the fun in that? I'd rather play for a tasting menu in the restaurant of my choice.

 

But I think the parameters of the bet are a bit vague. What qualifies as major studio? And how do you want to know what films are shooting by the end of 2010? Why not the films released over a defined period, that is much easier to determine.

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$20 is too low, where's the fun in that? I'd rather play for a tasting menu in the restaurant of my choice.

 

But I think the parameters of the bet are a bit vague. What qualifies as major studio? And how do you want to know what films are shooting by the end of 2010? Why not the films released over a defined period, that is much easier to determine.

 

Hi Max,

 

Guess Tom means Studio features above $20,000,000 but I am happy for input, have you got a Restaurant in mind?

 

Stephen

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$20 is too low, where's the fun in that? I'd rather play for a tasting menu in the restaurant of my choice.

 

But I think the parameters of the bet are a bit vague. What qualifies as major studio? And how do you want to know what films are shooting by the end of 2010? Why not the films released over a defined period, that is much easier to determine.

 

Okay, I will go up to $50 USD with each of you two, but that's enough for me. :ph34r:

 

How about this to make the time-frame easier to judge: for the three-month period spanning Nov 1, 2010 through Feb 1st, 2011, 51% or more of American films with budgets over $10,000,000 USD will have been shot on digital rather than film. Film will account for less than 49% of American features with budgets over $10 million USD.

 

Fair enough? :lol:

 

And yes, David Mullen can be the final judge, if he is willing.

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Okay, I will go up to $50 USD with each of you two, but that's enough for me. :ph34r:

 

Well Tom, Max and Stephen raise an interesting point...if you're so sure of your prediction why not go to say $5, 000.00 per head and clean up?

 

R,

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Well Tom, Max and Stephen raise an interesting point...if you're so sure of your prediction why not go to say $5, 000.00 per head and clean up?

 

R,

 

Because it's an internet bet. :P I'm not looking to clean these poor guys out of house and home. ;)

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Because it's an internet bet. :P I'm not looking to clean these poor guys out of house and home. ;)

 

I'll take your bet for $5, 000.00.

 

I'm wealthy I can afford to lose it. The question is, can you afford to pay when you lose?

 

Heck I'll give you better odds I think you'll be a long long way from your target number. I'm already seeing more indie people either shooting film or going back to film because the video shot projects don't sell very well in the international markets.

 

Your movie gets lumped in with the rest of the video junk.

 

R,

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Because it's an internet bet. :P I'm not looking to clean these poor guys out of house and home. ;)

OK, I'll see your US$50 and raise you 100 BILLION Zimbabwean dollars,

 

I'm not sure what that will buy in two years time either, but as of three weeks ago it would buy you about three chicken eggs in Zimbabwe :lol:

 

I'm just joking; I would never get involved in this sort of wager, not because I think you are right, but because the definition of a "major" feature film is too elastic.

 

While I am sure that the use of film capture for feature films will eventually decline significantly , it will take a lot longer than 2 years. And when it does, it will probably be due the falloff in film projection because that is where most of the money is at present - film stock and processing for release prints. Camera negative manufacture and processing is very much a sideline.

 

Current generation video cameras are limited to less than 10 stops dynamic range in practical situations. To get something that would be a realistic competitor to film origination, the video camera would need to have at least 14 stops, and considerably more to be regarded as "better than film".

 

The problem is that to the non-technical fanboy element, (which includes certain purveyors of meaningless techno-drivel who are sure to chime in here), going from 10 stops to 14 stops does not sound like such an enormous step, because the layman is used to thinking in terms of linear measurements. It sounds altogether too much like going from 100 miles per hour to 140 miles per hour.

 

Getting a factory standard car with a top speed of 100 mph to reach 140 mph is well within the capabilities of a reasonably competent backyard mechanic, given the right tools and enough money.

 

With a video camera, going from a 10 stop dynamic range to 14 stops is the performance equivalent of going from 100mph to 1,600mph! And if you know anything about cars, you will know it is simply impossible to make an ordinary piston engine run at anything like that speed, or even make a wheeled vehicle go that fast, no matter method of propulsion is used.

 

Video cameras are not cars, but the same non-linear laws of physics start to rear their ugly heads when you try to make them go faster. To get an extra 4 stops dynamic range will necessitate making the multiplexing circuitry in the chips 16 times quieter. I would be the last person to say categorically that this cannot be done, but unless RED have dug something out of the the sands

surrounding Area 51, that they're not telling us about, I find it hard to believe that they have the resources to do it.

 

Keith "Still waiting to see confirmed RED foortage on Aussie TV" Walters

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