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Seung Han

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Everything posted by Seung Han

  1. Thanks for your input guys. When I directed behind the video assist, I felt like I was communicating from a safe but distant location. Whenever I had a big scene with the actors, I got my ass up and directed from next to the camera. I always felt like I was disconnected from the set and crew after being behind the video so long and was finding my place again on the shoot again. I'm hoping to find a balance between the video assist and the camera the next production.
  2. How do cinematographers feel about the Director actively sharing the viewfinder? I ask because I directed my first feature and spent a lot of production time in front of the monitor and almost never looked through the viewfinder. But I always see pictures of directors looking through the viewfinder, and I feel like I missed out on something. As a first time director, I didn't want to encroach on the DP's territory since he had a lot more experience than me. What do you guys think about sharing the viewfinder? What is a good working relationship between the DP and director in dealing with the camera?
  3. You guys are great. Thanks for breaking it down for me, so I can understand. I met with the DP and he seemed like a nice guy, but our conversation didn't get as technical as I was worried it might. I'm hoping to get into it further with him in the future. Thanks again guys!
  4. I guess my question was more specific to how those shots in "The Assassination of Jesse James..." was done. I was a little confused by your reply... :unsure:
  5. Hey Guys, I was interested in the "tunnerl effect" in The Assassination of Jesse James, so I did a search on the board and found this post by Jamie Mcintyre: The 'tunnel' effect as you call it was created in camera in two different ways. I had in the past shot through a wide angle front lens element using a 50mm macro lens to get a 'keyhole' type of effect and we did a similar thing for 'Jesse James'. Secondly we simple removed the front element of an old wide angle lens which gave us the colour fringing and the vignetting you see in the film. Both quite simple ideas really. I was hoping to explain this to a Korean DP but since I am not a DP I am not exactly clear on what Jamie is explaining in the two ways he achieved this effect. Also, my Korean is not that great, so I feel like I have to be extra clear to get my points across. On the first method, is he attaching a wide angle lens in front of a 50mm macro lens? Is there an adaptor for this? On the second method, what is the front element of a wide angle lens? Is it one of the glass and also does it have to be a specific type of 'old wide angle lens' or can any wide angle lens achieve this effect? If anybody can clear this up for me I'd appreciate it. Thanks! - Seung
  6. Thanks guys. I appreciate all the great tips. I hope I find a balance between the two when the time comes.
  7. Should a director be directing from a monitor? What are the advantages and disadvantages of watching a shot from a monitor? Are some shots more appropriate to view from a monitor? Also, what is the relationship between Director and DP to the monitor?
  8. I assume the hardware is no longer beta since they are ramping up productions to ship, up to 400 in January. I just did a quick search and the latest firmware, however, is still beta. "The beta version of Build 12 (v1.8.6) Firmware and release version of Build 11 (v1.7.0) Firmware have been posted on RED.com/support (password-protected download)."
  9. Wow. The first cameras out of beta shipped this week. These are some big declarations.
  10. I can probably arrange this for you...but it would be Spring...and you'd have to come out to Seoul. ;)
  11. Is it laziness and relying on test results posted on the internet? :lol:
  12. Did somebody get charged for this information? Whatever happened to being grateful for somebody's troubles to share something, with strangers no less! Nobody is declaring any of these tests as being definitive. They're just sharing their observations with others who don't have access to the equipment. I don't think anybody has a right to tell them what tests to do unless you are paying for the rental or piece of equipment. Just be grateful people with varying levels of skill are sharing anything.
  13. Oh, I see the misunderstanding. The results were posted for a day or two then removed. He had a complete breakdown of what he thought were the pros and cons of using the RED and the F23. This isn't second hand information. It was right on his website. As far as the other DP, it is somebody I am having regular meetings with. He went to California recently and went through some RED footage at a large effects house. He said similar things about the DR as Claudio. So, unrelated, but also not a case of he said/she said. If you look at my post history on any site I have been a supporter of RED, so it is disappointing to get feedback like this. Still, if it's only getting better, and for that price...
  14. I understand your points but is it naive of me to listen to somebody like Claudio when he says it has 2 stops less DR? I feel like if enough people with more knowledge than me are saying similar things, I should take note and listen. Also, at some point, we need to qualify the camera, positives and negatives. Even if the camera evolves we need to base future results to some point of reference we can use now, especially since the cameras are in field today...
  15. Don't get me wrong, I am a res holder for two and I am excited to get my hands on these cameras for this price. I think Jim and his crew have done a cool thing by RED. But, yes, from the hype, I did expect "it to be better then a viper, genisis, dalsa or f23." Who knows, maybe this new build will fulfill these expectations. Either way, I am grateful somebody is making these professional tools a lot more accessible.
  16. I admit, peeking into anonymous people's pyschological issues on an internet message board can be interesting and even perversely entertaining at times, but it can also be a downer. Instead of believing everybody does not get it, just assume everybody does, that everybody comes here already knowing that YES the most important thing is great storytelling and whatever that entails. They already get this and come here to figure out how to go about telling it with the tools at hand. Just assume this until they prove you wrong. And even then, all you should really do is critique the piece and hope the person gets it next time around. Claudio is the second DP I respect to point out REDs shortcomings in dynamic range... I thougt it was going to blow the 2K cameras out of the water in resolution and DR. What happened?
  17. Why are people so upset? The only people who should get upset is somebody who actually bought the camera and is unhappy about it. David is right. Try the camera out and decide how you feel about it. If you like it, great. If not, move on. No big deal.
  18. Seung Han

    Red One in oz

    Thanks Josh for your response. My biggest concerns right now would be: - the noise levels people are mentioning when exposure is slightly off and also the correct ASA rating of the sensor. - the wide variance in latitude people are reporting back on. I took some footage to a DI house in Seoul and they were very impressed with Jim's drag racing footage. We viewed it in a baselight suit projected from DLP to a large screen. They finish 60% of Korean films going to theatrical distribution and are now very excited to create a RED workflow. I also viewed it with a Korean DP I am having initial meetings with about a possible collaboration. He shot 'Bittersweet Life' and is one of the best DPs in Korea. He told me he couldn't tell me anything about dynamic range. He said resolution was great but couldn't comment on anything else from the available footage. We then invited a select group of top Korean DPs and Post people and the reactions was interesting. It made me realize post people are hyped over the footage but good DPs are much more critical and need to do their own tests to become believers. I can respect that. I wish their was more r3d footage shot under different conditions to be analyzed. I thought we would've been flooded with them. Hopefully, soon...
  19. Seung Han

    Red One in oz

    Hey Josh, Thanks for taking the time to post this type of feedback. As a res holder, your honesty is certainly appreciated. I was wondering if you could go into more detail specifically about: - where you got the info about RED's compression scheme (12:1 MPEG..) - the noise level when off 1/2 a stop - why we should 'forget' about the RED lens (which one did you use and what were the issues) - and also you mention the camera feels 'cheap' several times, can you elaborate on this as well. Also, your footage looks soft. Do you think this is due to the PL mount / back focus issues? Again, thanks for sharing your experiences with us. I would also be curious if you could post this on reduser.net, not to stir the hornet's nest, but just to get more perspective on your opinions.
  20. Seung Han

    Red NDA?

    Just from common sense, I understand both Ruairi's sarcasm and Jim's annoyance at some of the lame posts in this thread. Just to throw this out there and assume it is true because nobody has denied is laziness and gossip mongering. Somebody needs to man up and apologize...
  21. Listen, you said acquisition format doesn't play a part in a film being made. You are simply wrong in this assumption. Many more films then not get made because of the choice of an acquisition format. That is reallity today, period. Also, many filmmakers from all over the world make small films and make enough of a profit to continue attracting investment. You need to stop scouring the weekend box office numbers for your perspective on the film industry. Yes, the U.S. is the biggest market, but its a big wide world out there and there's no need to be so pessimistic.
  22. This is wrong. Acquisition format greatly determines whether a film gets made. Look at the thousands of DV and HD features made every year worldwide and the number is growing. Distribution is another issue but I could argue that your assumptions here are wrong as well. On low low budget features investment and earnings can be tied to the acquisition format for a great many reasons.
  23. Maybe just a touch of self-deprecating sarcasm...just a touch...???...
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