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Mitchell Yount

RED ONE Just Hype??!?!

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Yes I also read that article. Even I noticed something wasn't right. The only thing I worry about film is you dont get to see exactally how an image will look before you burn it onto film, this is why i lean toward digital, I feel more safe bacause I can see EXACTALLY what I get befoere I hit "record".

 

I would argue this is not true if you are willing to take full advantage of RAW capture.

 

I suppose with really fine tuned viewing LUT's you could get close but really I think shooting RAW requires interpretive pre-visualization of a kind not dissimilar to film shooting skills.

 

-Sam

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The only thing I worry about film is you dont get to see exactally how an image will look before you burn it onto film, this is why i lean toward digital, I feel more safe bacause I can see EXACTALLY what I get befoere I hit "record". - Mitchell Yount

 

Hi,

 

I like film because I always get a pleasant surprise, it's always better than I expected, the same is true somewhat with Red due to the Raw workflow.

 

I don't like to play safe as that produces ordinary pictures IMHO.

 

Stephen

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Mitchell, no one for a minute believes someone paid you $1,200/ hour for 32 hours, but for this story's sake let's assume for some strange reason someone wanted to just throw money away because they, also, have no clue... the best thing you could have done with your portion was fly in a Top Music Video DP from LA and given him a 35mm Camera... have him Show you how it's done... with the dailies alone you'd probably already have two or three gigs booked by today...

 

Thank you for the post.

* But Please follw the community rules that you agreed to when signing up. (i.e- We require all posts to be positive, constructive, and on topic. We may delete individual posts that could ruin a good topic thread)

:P

Edited by Mitchell Yount

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The only thing I worry about film is you dont get to see exactally how an image will look before you burn it onto film, this is why i lean toward digital, I feel more safe bacause I can see EXACTALLY what I get befoere I hit "record". - Mitchell Yount

 

Hi,

 

I like film because I always get a pleasant surprise, it's always better than I expected, the same is true somewhat with Red due to the Raw workflow.

 

I don't like to play safe as that produces ordinary pictures IMHO.

 

Stephen

Thanks for the post. This is an intresting POV.

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* But Please follw the community rules that you agreed to when signing up. (i.e- We require all posts to be positive, constructive, and on topic. We may delete individual posts that could ruin a good topic thread) - Mitchell Younts/ Why

 

 

Considering the amount or your Threads that have been deleted from this forum in the few hours you have posted... I was positive... I took time to offer you advice.

Edited by David Rakoczy

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Yes I also read that article. Even I noticed something wasn't right. The only thing I worry about film is you dont get to see exactally how an image will look before you burn it onto film, this is why i lean toward digital, I feel more safe bacause I can see EXACTALLY what I get befoere I hit "record".

 

I consider film to be actually more predictable than the RED in terms of what you end up getting. An experienced Cinematographer who knows how to use a lightmeter and has tested a film stock has a pretty good idea of how the images will be exposed. This knowledge also allows for being adventurous. The Red on the other hand has more variables. What is your ASA? It depends. There is also less room for error when exposing for the RED because it has less latitude than current color negative film stocks. This is true of any current digital format. (I say "current" because limited dynamic range is not inherent to the medium, it is just the way digital is currently. Digital may one day exceed film in dynamic range, but so far not yet) The image on the monitor from a RED raw image has not been color corrected yet either.

 

Before the use of the video monitor on set, the director had to trust the cinematographer and direct the scene next to the camera with the actors. Times have changed and we have monitors on set and there have been advantages. Unfortunately SOME, not all directors have used these tools as a way to look over the DP's shoulder and micromanage his/her work when their time could be better spent focusing on directing. While trust and collaboration cannot be enforced, I hope that more of it will be encouraged in a healthy way.

 

The format chosen, whether it be film or digital should be chosen in collaboration with the cinematographer.

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I consider film to be actually more predictable than the RED in terms of what you end up getting.

Sure, but consider that we've had roughly a hundred more years of learning how to predict it. Give it time.

 

 

 

-- J.S.

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I agree that digital will eventually become more predictable. I also believe that digital will one day have as much or more dynamic range than film. We need to give it time, but we still need to shoot right now. My argument was not meant to say that we should give up on digital, my argument was that being able to see an image on a monitor for the convenience and comfort of the director is not necessarily a reasonable deciding factor when choosing a shooting medium. (unless it has something to do with job security, then all bets are off.)

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I feel you guys have been very hard on young Mitchell Yount earlier in this thread.

 

Congratulations Mitchell on pulling off a music video at 18 on a RED.

 

For my two pence, I agree with the likes of Stephen, film is surprisingly better in circumstances where you unfortunately did not have full control. You find yourself smiling in telecine. I often find myself shooting my really low budget promo s on s16 because plain unlit shots can look lovely on film where they could fall apart shot in linear digital.

 

However I am buying a RED because with correctly controlled lighting and filtration it produces lovely images and clients love the idea of digital.

 

No one needs to tie themselves down to one format or another, we all have changing artistic needs that are satisfied in different ways.

 

I look forward to your work in 10 years Mitchell, you'll do well. I have done loads of rap and R and B videos and I am white. They are great because there are simply SO many low budget ones out there to shoot so you can get your practice in.

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Don't feel bad about taking 2 1/2 weeks to cut it. In some of my early promo s that I was cutting myself I sometimes took months. Especially when bouncing backwards and forwards to after effects and my own unpredictable experimentation.

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I know its a little bit OT but I just need to say something here, which sort of fits in the conversation

 

I started my learning process as a Director 3 years ago, mainly through watching countless films, reading books and scouring the internet for information regarding it.

 

I actually bought into the "hype" of buying an HVX, through the internet and I guess you can imagine in which particular website I had this experience...

 

It turns out the camera was actually very good...but by no means what it was so much praised to be...

One of the things I learned was that (besides the technicalities and the workflow, which I'm pretty good right now), just because you got yourself a camera and read some stuff, doesn't mean you can actually direct or light...

 

It used to be in the old days that no inexperienced man could grab hold of a professional piece of gear like a camera, prior to having a great deal of experience and time on set assisting or even bringing coffee. That situation had its extremes and maybe prevented people from

having access to the "elite" so it had its downsides..

 

Accessibility has changed in our days and almost anyone can have access to professional gear and in one way or the other, have an opinion very early on in his/her career. While information is now more freely exchanged, it sort of is the other side of the coin and we are paying the price of our inexperience and dumbfounded confidence that we can pull off great gigs. So I ask myself: Where's the actual experience? And making that question always helps...I think maybe its a question every new guy needs to make and in this case, the original poster...

I also believe that its this exact inexperience that some camera makers rely on, to make their sale...

 

Since I made my first TV commercial I cannot even think of planning my next work without calling my DP...

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Your DP could have suggested to shoot with S16 format Lenses so you could shoot in 2k Mode and keep wider viewing angles.

 

Exactly, I was looking through thread specificly for this point, at least somebody touched on it. You could have used HD lenses as well (you would need the B4 to PL adapter). Also, you could have also shot 4k and then down-resed to 2k in REDCine. There's more than one way to get 2k.

Edited by Andrew McCarrick

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