Serge Teulon

Hey Brad, You've got some great images there and unlike many others, I like the song.

I agree with Tony and Adam....circular track nearly always seems to cheapen things. The best bit of circular track movement I remember seeing is in Departed on the roof. That worked...

Hey Matthew, The drive wasn't in a perfectly horizontal position but very close. I was trying to include a still on here but I can't seem to just drop it in or copy-paste it......do you know how I can do it? I think with any technology you are always going to find one that will work perfectly but the another that just won't....luck of the draw I think. But then when I shoot film I always get my camera equipment from pana and to date have never had anything wrong with it.... The image was absolutely fine on the lcd and on the hd monitor, the evf would just freak out sporadically in a middle of a take. And when handheld you can just imagine how distracting that was. I'll check out those 2 evf arms....sounds like they could be the answer to the feeble default evf support that you get with red. Hey Sat - Even if it is, as you say, definitely noisier? I'm not sure that is a compromise that I would be prepared to take.....noisier and resolution loss

Hi Otto, Really like your video. Beautiful shots and great ideas! Nice!

Hey Matthew, There weren't any loud noises and the handheld work wasn't pioneering either.... A kiss light is an led ring light, which sits around them lens. They get very hot after a little while. David said that he also had no problems with heat whilst shooting in high temperatures. It could be that the camera was faulty or just a simple case of my lack of knowledge on being able to alter the fanning system in it. Not sure what the rental house set it at... I don't really know how to explain what the EVF was doing. But the closest thing I can relate it to is....imagine setting the peaking on max and then times that by 50. Completely unviewable (if there is such a word). Plus the fact that it's held by a mini magic arm...... Thomas - Looking forward to reading your results.

Hey Gareth, I really enjoyed the film. I thought your camera work was very good and completely in step with the storyline. Good luck in Cannes!

Hey Tom and Petros, That's interesting. In your experience, what are the major differences in quality from shooting RC28 and 36?

I hear you Mike.....but you really think that the world needs MacD's/BK/etc..??? Ram, I liked your work in the video and also liked the message. I was just left with the thought that the director could've pushed it a little bit further before the reveal.....maybe I'm wrong but that's what I felt.

Hey Dominic, We were shooting 16:9 which meant that we couldn't shoot with the cards at 4k. With the raid drives not liking alot of movement it makes it debilitating to use the camera as required. There has been quite a few builds, so surely its a problem that could've been addressed by now?! I had a brief run through with the camera and its menus at the rental house prior to shooting. It's annoying that they didn't mention about fan settings. Specially as they knew that we were in a studio and had a kiss light in the equip list. Thomas - Thanks, I've pm'd you. Cheers

Thanks David, I've had a fairly boring year so far, so its definitely good to be working.... The job was ultra low budget and therefore worked under those restrictions. It was quite a frantic day and the whole booting up issues did push us a bit behind schedule in certain parts of the day. But we had some good ppl in the crew which made it fun and worthwhile. Hope all is well with you.

I shot a test with a roll of 5218 that I had in my fridge for 18months. All was fine and dandy. However I've heard some terrible stories too.... I'd say fresh all the way. Is there a reason why you'd purchase it so far in advance?

I haven't had a chance to test. In your experience is there a big difference in quality between REDCODE 28 and 36? There was another thing which was quite weird. When we booted the camera up, the display at the back said the the build was 13 but on the LCD it said that it was build 17?? We were completely baffled by that..... As for overheating, I forgot to mention that there was also a kiss light involved. Interesting though, I didn't know that you could alter the fan setting on the camera......is it via the menus?

This weekend I shot my first job with the red. It was a low budget promo in a studio and they couldn't afford a red tech. My impression was that the EVF is rubbish, the camera overheated too much on long takes (which led to it switching itself off, re-boot took 60 secs each time), it didn't like handheld action, so much so that it would react by swiching itself off. I thought about using cards for the handheld but we were shooting 4k. Also my AC noticed that the camera said that it had dropped some files but once checked everything was ok. Strange..... On the positive side I like the images and completely understand why so many productions have taken to this camera. As much as I've read about workflows and about the camera itself, it still felt very alien to me. A bit confusing to start off but with the help of my great 1st AC and also previous red posts in this forum my 'rumbling around in the dark' wasn't detrimental. I put the rushes into redalert and really liked the fact of being able to manipulate them there and then. From reading advice from other posts I protected the highlights which has left me with a good room to manipulate the 'touching up' to assert my look. What I didn't know or read about in here was the RSX files. I now understand that readalert automatically creates an RSX file, which is essentially a 'look' file, as soon as you open a r3d file into it. I'm now in the process of creating my one light half res QT's in redrushes. It's taking a long time....overall we have around about 150-160gb of footage. Although it feels like a camera that has been rushed out of the factory, personally I would use it again. I wouldn't pick it over film but then that's not the point, as far as I'm concerned. It is what it is and I'll use it. But looking forward to when its creases have been ironed out.

Happy Birthday man!! ;)

I agree...the Imdb does not do it justice. I think you've done a really nice job Robert. The lighting and camera movement does not distract the viewer from the storyline. The only thing that bugged me the level of the music, its too loud. But as this is a critique on your work....Congrats

You've got a valid point Brian. With all the PL mounted, 35mm sensor cameras that have come out in the last 1-2 years, the tv sector has been, in some way, forgotten. That is until this camera....

Hi Rajavel, What format you shoot on is totally dependent on the story and as emotion is a vital ingredient in a story, I would go as far as to say that it is important. In relation to Slumdog....unfortunately I can't comment as I'm one of the very few that hasn't seen it yet. But somehow I can't think that either Harry Potter or Iron Man will shoot the whole film on the Canon 5d MrkII. The banding problems and endless dof would just be a nightmare to deal with in these scenarios.

I must say that I also thought the same.....me thinks that they've missed a trick here.

Maybe for little cutaways or for a specific look in a scene......but my brain refuses to accept that they would actually shoot the whole thing with this camera.....

Hey David, I liked your work. Congrats! My only criticism is that the blacks could've been crushed a bit more in the grade. It still has a little bit of the red's grey factor in there....we all know that grade is client led!

As filming is a collaborative process, I find that the best gaffers are the ones which are technically good but also have a creative input/interest. These can be hard to find.....or expensive to hire.

The red produces a 'flat' image so that it can 'concentrate' in capturing as much information as possible. That is why you see grey, low contrast like images from the red. As Chris has said, red relies on post manipulation to achieve your final look. Makes you think twice about he post work that was needed to achieve the visual quality of Knowing!

The planned drive to transfer to is 300Gb. If we keep to our planned shooting ratio we should be fine and still have some space to breath, just in case the day becomes a bit more frenetic and more mistakes occur. Many thanks John! ;)

Hey Guys, For a 3 min promo, in 4k RAW mode, on a shooting ratio of 4:1, can someone please tell me how big a hard drive is needed? Cheers

I like the shower curtain David! Tom, how about a shower curtain rail with 2 broom sticks (ala goal posts) and then tape the curtain on to it. You'll probably have to wet the ground so that you can push the broom sticks into the ground...