Mr Mullen notes:
"The number of missed-focus shots were on par with most 35mm movies, especially in that budget range. I didn't notice anything unusual in that regards other than early on, a montage of areas in Whitacre's house where a shot of his stairwell, looking down, was out of focus for no particular reason, considering it was a wide shot with no actors in it."
Sometimes the easy shot does slip by with no one noticing a problem until too late to fix. I thought the following quote from Art Adam's account of shooting a mv on the Red One and the Red zoom was interesting and may apply though I've only circumstantial reason to think this.
... "Then there was the saga of the RED 18-85 zoom. This is, in theory, a great zoom: it encompasses the entire range of a normal prime lens set, and it opens up to a T2.9, which is quite handy when shooting with a slow camera like the RED. Unfortunately accurate focus marks are an as-yet unrealized upgrade option: when horizontal, the markings on the RED 18-85 lens that we used were fairly accurate, but they drifted severely when the camera was tilted at a severe angle. For example, while shooting off the scissor lift at a 45-degree down angle and with the zoom fully wide at 18mm, eye focusing on a subject 20’ away yielded a distance of 50’ on the lens. Under such conditions one can’t zoom in, focus and zoom out as the focus doesn’t track properly; one has to pick the proper focal length and use the RED’s focus-checking digital zoom to verify sharpness."
You'll find the rest of a very good article here- http://provideocoalition.com/index.php/aad...s_music_vid_vr/
David Campbell