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Andrew Walker

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About Andrew Walker

  • Rank

  • Birthday 09/01/1978

Profile Information

  • Occupation
    Cinematographer
  • Location
    Burbank, CA
  • Specialties
    Filmmaking

Contact Methods

  • Website URL
    http://599productions.com
  1. Very true. Sometimes people are just unwilling to listen.
  2. So the show has to be a hit for the camera to be worth anything right. That is some very interesting logic.
  3. I don't know what your talking about. RED hasn't run its course. Productions of all types are going to be shooting on it for years to come. I was just saying their customer service sucks and they really need to work on it.
  4. I use to be one of RED's biggest supporters and I still love my Epic. But Jim needs to hire a PR person and just stop going on reduser or something. Personally I like Jim, at least the Jim I have met in person. Very polite and willing to listen to everyone. The problem is that when he's in front of a keyboard he does some really off hand things. The other problem that someone else stated here was that they have way too many moderators running around with the power to ban and make things disappear. RED also needs to stop dicking people around because its going to get so bad that no one is going to want to deal with them. Because at this rate they will piss off the wrong person and that will be the end of it, no matter how kickass their cameras are. RED is the only camera company that I know of that threatens their customers to shut up or they aren't going to even let them buy gear for their cameras they already have. I was told to shut up when RED was just sitting on my camera with all my money. When I kept asking where my camera was after they had my money for over a week I was told that I can be quiet or that I wouldn't get a camera. The biggest problem I see is that most of the Bomb Squad reps are completely in the dark as to what is going on. Why not tell them what is happening so that they might convey that info to the customers that they deal with day in and day out. Its a shame what happened to Phillip Bloom and his whole RED experience but it doesn't surprise me in the least bit. This kind of stuff has been going on for years. Its about time someone just said "**(obscenity removed)** it" and shed some light on what is going on.
  5. I've seen some of "Great Gatsby" over at Warner Bros. projected in 3D off an Avid and I thought it looked pretty good. Of course the stuff I was seeing was in a very rough form but I still enjoyed watching it. Problem with watching 3D off the Avid currently is that each eye is only getting 1280x720. So there are all kinds of artifacts from this process. But still, even with all that it looks pretty cool.
  6. Well the idea of shooting at higher resolutions beyond 1080p is so that in the future I don't have to go out and shoot the same shot over again. So, for me, shooting 4K, 5K and 5.6K works really well for me and the clients I works with. I understand that not everyone needs anything higher than 1080p...cool for them. But I know from tests that I have seen at Warner Bros., Disney and Fox that material shot at higher resolutions and then down converted to 2K look way better than material that was shot at 1080p. There is a noticeable and significant different between the two types of footage. Now is that to say that movies being shot at 1080p won't be watchable in 10, 20 or 50 years from now. Of course not. There are movies that have been shot almost 100 years ago that are completely watchable today. I don't think the argument is that movies shot at 1080p will be un-watchable in the future. I think its more that if you shoot at higher resolutions now the footage will be able to hold up longer against footage that will be shot in the future. Again, for me shooting at 1080p is a joke and I would never do it. Getty, Corbis and a couple other footage houses want 2K files. When I first started with Getty they were fine with 1080p. But now the times have changed and so has the demand. The idea is to be ahead of the curve. Not behind it or even in it. I would much rather my footage be selling for a very long time instead of not being sold because it isn't high enough resolution. Resolution matters and its going to matter more and more as digital projection moves to 4K and even home theater systems.
  7. RED cameras are for some people, not all. For the projects I work on its great and worth the price. Those write ups about Scarlet are interesting but I think it was very smart of RED to do what they did for the specs of Scarlet. They gave us Epic owners enough of a gap between the two cameras to justify the price of the two. There are things I don't like about RED but its more about the way they conduct certain aspects of their business and not about their products. The fact is that the F3 isn't a 4K camera. Its a 1080p camera and it seems that format is on its way out. Does that mean that you can't get jobs anymore shooting on the F3...of course not. But I need to future proof my footage and 1080p is a joke...to me. So if I had to make a decision between Scarlet and the F3 I would go with the Scarlet. Sure the RED cameras are in a constant state of change with firmware builds but that's something I like. To me it seems like RED is always trying to improve their products even after they leave and are in the shooters' hands. Some people don't like that and if they don't then all they have to do is stick with the release firmware build and they should be fine.
  8. This is a timelapse shot using the Canon 5D2 in RAW stills mode with it sitting on top of a motion control system that Dynamic Perception built and was nice enough to have me beta test for the past couple weeks. A lot of the shots I used the Zeiss ZF 50mm f1.4 and the Canon 24mm f1.4 II. The Zeiss is crazy sharp and I love using it. Its very different to plan out shots that move and adds a whole new dimension to the process, not to mention setup time. Here are also a couple pictures of my setup with the moco rig.
  9. It sounds like Jim doesn't like misinformation to be spread around about the camera that isn't true. I hate that as well because when I run into someone that has actually listened to something said by a RED hater they seem to think its the truth, which most of the time it is far from the truth. So then producers, directors or whomever is making a misinformed decision based on something they heard from someone that didn't know what they were talking about. It just takes time out of my day to try and get these people the right info so that they are informed about what is really out there.
  10. I like Jim because every time I have met him he has been extremely nice to me and all the other people talking his ear off. He shows incredible patience for someone that deals with some of the people I have seen him deal with. If he wasn't that way I would be indifferent about him but I would still like RED because its better than anything else out there and within my reach financially. Getting a RED One has changed my life in a way I had always hoped for. I really don't care if you like me. You have nothing I want so you might as well not even exist in my eyes. To me your just some name on a screen.
  11. Looks like some words need to be eaten after that quote.
  12. How old are you? I know its hard to admit you are wrong but guess what, you are very wrong. Besides Jim doesn't sell sun glasses anymore. He sells Digital Cinema Cameras, leads the digital revolution and is a studio head. Might want to get your facts right. The RED One measured resolution at 4K 16x9 on the new M-X sensor is 3.5K and it 4.5K is true 4K.
  13. Okay, if you guys don't believe me about the noiseless footage that Fincher shot on the new M-X sensor RED One. Then talk with Jim about coming over to RED studios at seeing the footage up on their 4K projector. I'm sure he would be more than happy to prove you wrong...of course if he has the time (and of course I'm not speaking for Jim just trying to find a way to show you guys what I'm talking about). Why didn't the RED haters go to the RED Day event at RED Studios to see if they could pick apart the RED footage on the 4K projector. I know you guys are a little scared of getting proven wrong in front of everyone and having to eat your words. You could also ask any of the people that were there that day and they will tell you the same thing. Proof is in the footage.
  14. I heard that it was mostly shot on the F23. Oh yeah and David Fincher is shooting with the new M-X sensor in two RED Ones on his new movie. Now lets sit and think why would he choose to shoot RED when there seems to be so many better options out there than RED, according to some of the people here. It might be because RED smokes all the others.
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