1 Man 1 Red & A followfocus
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Brook Willard
Well-known member
This is why I love my gaffer sometimes. :laugh:Stephen Williams said:
Gibby
Red Savant
Haakon,
If you check my post #20, posted 1-minute before your #21 you'll find that we essentially agree.
As for what a quality camera (and lens), and specifically RED One, can mean to a production, I have a real good handle on RED One and it's excellent potential. In fact, I reserved two RED One cameras, one of them so early on that the serial number is in single digits. I was also one of the invited attendees for the initial RED One camera spec meeting at Oakley in December 2005, which was an incredible experience.
I believe that talent, experience and technology must dance in unison to achieve optimum results. The technology, and in this case RED One is the icing on the cake, and a serious enabler, but there would be no cake to ice without talent and experience. Passion, tenacity, and opportunity create experience.
If you check my post #20, posted 1-minute before your #21 you'll find that we essentially agree.
As for what a quality camera (and lens), and specifically RED One, can mean to a production, I have a real good handle on RED One and it's excellent potential. In fact, I reserved two RED One cameras, one of them so early on that the serial number is in single digits. I was also one of the invited attendees for the initial RED One camera spec meeting at Oakley in December 2005, which was an incredible experience.
I believe that talent, experience and technology must dance in unison to achieve optimum results. The technology, and in this case RED One is the icing on the cake, and a serious enabler, but there would be no cake to ice without talent and experience. Passion, tenacity, and opportunity create experience.
Gibby
Red Savant
evinsky said:
When I hire someone to work on one of my productions, I look for passion, talent, experience, and a good attitude - then I hand them the best technology possible. Even if they're low on experience, if they have talent, enthusiasm, and a good attitude thay stand a good chance of getting hired. If someone doesn't have passion for their work, especially in this line of work, they should find another occupation.
Stephen Williams
Well-known member
Gibby said:
Hi,
I think we all agree on this one!:smile:
Stephen
Brook Willard
Well-known member
The good news is that most of the folks who have taken it from the set to the forums are passionate enough about their work that they can't stop thinking about it... even on the 23rd of December.
Gentlemen, we all agree.
Gentlemen, we all agree.
Hey Gibby
Just wanted you to know that I was not really calling you out on your "talent' statement. I have read a lot of your posts and have grown to respect your opinions. I just wanted to make sure passion and determination was thrown in to the mix and I was pretty possitive you felt the same as I did. Which you confirmed very well.
Just wanted you to know that I was not really calling you out on your "talent' statement. I have read a lot of your posts and have grown to respect your opinions. I just wanted to make sure passion and determination was thrown in to the mix and I was pretty possitive you felt the same as I did. Which you confirmed very well.
filmmaker1977
Carbonite Member
these ones i liked it.. as you see, sometimes we can agree..insanityfw said:
alacritymedia
Active member
Anticipation
Anticipation
One element of this talent and experience equation I want to add is the ability of the mind to think about what visual elements will support the story while also managing the machanics of operating the camera. When you are first learning the craft you have to sell out to either the story is all that matters and the camera just has a green button - OR - you focus on the focus, exposure, smooth pans, etc of making pretty pictures. The next step is to understand how to make a pleasing frame. Then you, or someone you are working with has to understand how to light for camerawork rather than the eye. After that you will need to figure out how the relationship between elements in the frame and the light sources can provide the visual cues and subtext that gives the audience a deeper understanding of the story. For the kind of man on the street shooting that was the goal of the initial post in this thread you need something else - anticipation. The fluidity with which you can operate the camera combined with the 6th sense of the relationship between elements that will guide you to meaningful framing choices is what you need. The idea of using hyperfocal DoF with a fairly wide angle lens and a stop of 8 or more will make your ability to follow focus less critical but it will make you framing choices more critical. For most of us the gift of shorter DoF is the chance to control what the audience pays attention to on an ongoing basis. With hyperfocal shooting the framing has to get it done. The cool thing is that with a 4k master you can crop for a smaller frame in post which might really help you out.
My advice is to shoot hours and hours of footage.
Blair S. Paulsen
RedOne #19
Anticipation
One element of this talent and experience equation I want to add is the ability of the mind to think about what visual elements will support the story while also managing the machanics of operating the camera. When you are first learning the craft you have to sell out to either the story is all that matters and the camera just has a green button - OR - you focus on the focus, exposure, smooth pans, etc of making pretty pictures. The next step is to understand how to make a pleasing frame. Then you, or someone you are working with has to understand how to light for camerawork rather than the eye. After that you will need to figure out how the relationship between elements in the frame and the light sources can provide the visual cues and subtext that gives the audience a deeper understanding of the story. For the kind of man on the street shooting that was the goal of the initial post in this thread you need something else - anticipation. The fluidity with which you can operate the camera combined with the 6th sense of the relationship between elements that will guide you to meaningful framing choices is what you need. The idea of using hyperfocal DoF with a fairly wide angle lens and a stop of 8 or more will make your ability to follow focus less critical but it will make you framing choices more critical. For most of us the gift of shorter DoF is the chance to control what the audience pays attention to on an ongoing basis. With hyperfocal shooting the framing has to get it done. The cool thing is that with a 4k master you can crop for a smaller frame in post which might really help you out.
My advice is to shoot hours and hours of footage.
Blair S. Paulsen
RedOne #19
LighthouseMedia
Well-known member
Reading this thread brings up an interesting point to me...will there be a way to affix a servo driven zoom lens to RED?
hello! thanks to everyone for the insight and reality check!
im always working through the threads here, reading, trying to pick up on the clusters of knowledge & wisdom left behind. (free film school yay!) so thanks now, thanks yesterday and thanks tommorow!
hello stevesherrick.
trouble looking like a tourist with a Red? maybe i can mask it up with cork hat and a brightly colored shirt!.
yes. i want resolution, dynamic range, low light performance, variable frames and the ability to slap on a wide and glide through the crowd.
all those options makes the Red more affordable compared to a camera i will buy and later upgrade to a Red thus loosing time and money.
the type of work i use to do was in midi/sound (not virtual) 9 years of sound bashing has drained all to a halt and lead me to do what i always wanted to do since 8yo (now 30) make a movie! but before making the transiton, treading lightly with a still camera that would eventualy reveal what i may try in motion. now that im done with the silence it would be nice to bring my previous sound skill together with motion in the form of dada/realism/montage.
Finner hi!
it looks like i dont require followfocus and deal with insensitive focus ring on the sigma 15-30. limitations worked for dogma.
insanityfw
"""I don't know what lenses were used in the 1960's and 70's when ENG cameras where 16mm film units. Seems like there would be one person, with a camera and a zoom lense out doing there own shooting."""
exactly! what inspires me to go oldskool! after waching Jim McBride's 1968 cinema verite style movie "david holzman's diary". and Goddard's "Alphaville" had a raw dark edgy look leaving a strong impression.
in the land of music. the learning computer music producers will ask how to inject life into their music without sounding monotonous and the answer is always to go hands on control, not computer driven operations.
hi overlandfilms.
you can never crush my spirits.
to me the Red is almost 1080P.. 1080p scaled RGB method sounds good to me.
Gibby hi
not experienced but willing to learn.
i just dont want to spend money and think what could of been.. but i will get myself a cheap Sony HDR HC3 and have a go before the splurge
judgement? its your view and apreciated very much! i didnt read anything to feel broken about.
hello Stephen Williams
i will keep that in mind however i will not require any lighting for what i want to try out. only natural lighting. (which in the end may just look like a realy expensive tourist video... whoops)
Martin.
thanks for the tips and inspiring words!
yes, by hyperfocal i mean for everything to be in focus. maybe i can get by with the ring on the sigma for minor adjustments. regarding audio, having at least 1 preamp would of been nice. but as a starting point, not essential in my case, as i will use sample cd's and Samson CO1U & laptop to cover the unfound sounds.
Emanual
thanks for the link! that sais a 1000 words!
yes, very affordable even compared to a HVX decked with inough P2 cards (for the variable frames) to get the same hours and loosing so much more. Red is a bargain and the future of a classic workhorse camera like the PentaxK1000.
1080p is good inough and maybe better for its readily available convenient access by consumer products, i cant wait for the manual!
Chris!
thank you!
if i recall correctly, reading a biography from Martin Scorcese he said that some get involved in Directing as to better know the self. and from another source, that this profession is not chosen by people who had a choice between becoming a doctor or a cinematogrepher.
alacritymedia
4k cropping may not work due to lens distortion at wide shooting but lots of footage is the master plan and to keep archive managable will go scaled 1080p.
before the process of hiring actors, i will learn the process of framing according to what would happen at the loction, following the imaginary actor accordingly. which may seem like arbitrary footage.
thanks & thanks again to everyone and sorry if i have left anybody or anything out!
regards
im always working through the threads here, reading, trying to pick up on the clusters of knowledge & wisdom left behind. (free film school yay!) so thanks now, thanks yesterday and thanks tommorow!
hello stevesherrick.
trouble looking like a tourist with a Red? maybe i can mask it up with cork hat and a brightly colored shirt!.
yes. i want resolution, dynamic range, low light performance, variable frames and the ability to slap on a wide and glide through the crowd.
all those options makes the Red more affordable compared to a camera i will buy and later upgrade to a Red thus loosing time and money.
the type of work i use to do was in midi/sound (not virtual) 9 years of sound bashing has drained all to a halt and lead me to do what i always wanted to do since 8yo (now 30) make a movie! but before making the transiton, treading lightly with a still camera that would eventualy reveal what i may try in motion. now that im done with the silence it would be nice to bring my previous sound skill together with motion in the form of dada/realism/montage.
Finner hi!
it looks like i dont require followfocus and deal with insensitive focus ring on the sigma 15-30. limitations worked for dogma.
insanityfw
"""I don't know what lenses were used in the 1960's and 70's when ENG cameras where 16mm film units. Seems like there would be one person, with a camera and a zoom lense out doing there own shooting."""
exactly! what inspires me to go oldskool! after waching Jim McBride's 1968 cinema verite style movie "david holzman's diary". and Goddard's "Alphaville" had a raw dark edgy look leaving a strong impression.
in the land of music. the learning computer music producers will ask how to inject life into their music without sounding monotonous and the answer is always to go hands on control, not computer driven operations.
hi overlandfilms.
you can never crush my spirits.
to me the Red is almost 1080P.. 1080p scaled RGB method sounds good to me.
Gibby hi
not experienced but willing to learn.
i just dont want to spend money and think what could of been.. but i will get myself a cheap Sony HDR HC3 and have a go before the splurge
judgement? its your view and apreciated very much! i didnt read anything to feel broken about.
hello Stephen Williams
i will keep that in mind however i will not require any lighting for what i want to try out. only natural lighting. (which in the end may just look like a realy expensive tourist video... whoops)
Martin.
thanks for the tips and inspiring words!
yes, by hyperfocal i mean for everything to be in focus. maybe i can get by with the ring on the sigma for minor adjustments. regarding audio, having at least 1 preamp would of been nice. but as a starting point, not essential in my case, as i will use sample cd's and Samson CO1U & laptop to cover the unfound sounds.
Emanual
thanks for the link! that sais a 1000 words!
yes, very affordable even compared to a HVX decked with inough P2 cards (for the variable frames) to get the same hours and loosing so much more. Red is a bargain and the future of a classic workhorse camera like the PentaxK1000.
1080p is good inough and maybe better for its readily available convenient access by consumer products, i cant wait for the manual!
Chris!
thank you!
if i recall correctly, reading a biography from Martin Scorcese he said that some get involved in Directing as to better know the self. and from another source, that this profession is not chosen by people who had a choice between becoming a doctor or a cinematogrepher.
alacritymedia
4k cropping may not work due to lens distortion at wide shooting but lots of footage is the master plan and to keep archive managable will go scaled 1080p.
before the process of hiring actors, i will learn the process of framing according to what would happen at the loction, following the imaginary actor accordingly. which may seem like arbitrary footage.
thanks & thanks again to everyone and sorry if i have left anybody or anything out!
regards
taubkin
Veteran
Without getting into the merit of who actually need a RED camera, shooting 2K windowed with S16 lenses, at F8 or F11 (At least on those external-day tourism shots) Can be pretty easy, focus-wise, and if they give us the revolutionary focus assist as they are promising us, maybe it's not such a far off choice.
oh and at F11, on a 16mm lens, I believe (trying to remember my last shoot) the hiperfocal distance was close of 6-7 ft... So, you can see that it's far from impossible...
oh and at F11, on a 16mm lens, I believe (trying to remember my last shoot) the hiperfocal distance was close of 6-7 ft... So, you can see that it's far from impossible...
Last edited:
Stephen Williams
Well-known member
taubkin said:
Hi,
Remember many lenses are past their best by F11.
Stephen
Gibby
Red Savant
LighthouseMedia said:
I assume you mean a 2/3" HD zoom. RED has maintained from the first announcement of RED One that they intend to eventually provide a way to attach 2/3" lenses via a B4 mount (and later mention of an adaptor). They have also said that the B4 solution will be provided later in 2007. RED has also announced support of the 1080p RGB and 720p RGB formats. As usual, all RED announcements are subject to revision or change. It is conceivable that a 3rd party may also produce a B4 solution for RED One, possibly before RED does. One way or another, B4 lenses will be able to be mounted on RED One.
The servo motor on zoom lenses requires power. RED has confirmed their intention to provide two 12-volt auxiliary outputs on RED One (subject to change of course). If they do provide 12-volt auxiliary power, then 2/3" B4 HD zoom lens power to run servo motors can be drawn from one of those 12-volt auxiliary power buses. Even if RED canceled the 12-volt auxiliary buses, there is another workaround for power, using a small auxiliary battery pack somewhere on your tripod or RED Rail to power the servo motors. You'll still need a simple adapter to connect between the 12-volt auxiliary bus and the multi-pin power cable of your 2/3" HD zoom lens of choice - Fujinon, Canon, etc. Zooming with the servo motor would then be enabled, but the other powered auto functions of the lens would not. RED One is a manual camera. A small switch on the bottom of the servo motor of 2/3" HD zoom lenses with servos allows you to switch from servo operation for zooming to manual operation for zooming. Operational combinations for those lenses on RED One would be:
Power zoom + manual focus (using RED One focus assist function) + manual iris (using histogram)
Manual zoom + manual focus (using RED One focus assist function) + manual iris (using histogram)
jenningsp
Well-known member
nobody is born with talent, just some people are raised without the capacity to acquire some.
film is an art-form and remember that most artists aren't successful until they're dead. and you have to be published before you can off yourself. but most importantly always remember that everybody else doesn't have a clue what they're doing either.
you can purchase a novella of my pseudo-intellectual rants come this fall when I'm sure to be published. followed by my immediate success.
too subtle? i don't know.
film is an art-form and remember that most artists aren't successful until they're dead. and you have to be published before you can off yourself. but most importantly always remember that everybody else doesn't have a clue what they're doing either.
you can purchase a novella of my pseudo-intellectual rants come this fall when I'm sure to be published. followed by my immediate success.
too subtle? i don't know.
Mr Sleep
You seem determined to shoot RED and your justifications are well thought out. I admire your dedication and am confident you will overcome any of drawbacks and difficulties you may encounter as a one man shooter with red.
I think your idea to purchase a cheap camera to practice with before getting the RED is by far your best. I am sure you will finish with a beautiful product after completion.
Good luck and have fun.
You seem determined to shoot RED and your justifications are well thought out. I admire your dedication and am confident you will overcome any of drawbacks and difficulties you may encounter as a one man shooter with red.
I think your idea to purchase a cheap camera to practice with before getting the RED is by far your best. I am sure you will finish with a beautiful product after completion.
Good luck and have fun.
taubkin
Veteran
Stephen Williams said:
DOF is always a game of balance. Sometimes we can live with the sharpness loss. It's certainly viable to shoot at F11, especially if your intended result does not need extreme sharpness and resolution. I am almost certain that a RED camera with a good lens at F11 beats the heck of a HVX or something like that... But, good reminder, nonetheless!
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