Confused about the reality

man, I am so glad LoveDVX has replied with counter points, makes for interesting discussion....

How about it buddy? Or are you realizing you might have gotten a little to high on that horse?
 
Frankly, though I think there have been some great responses (and witty), no one on this forum needs to defend the forum to a guy who doesn't know this community and stops by to troll (whether he intended to troll or not, that's the effect).

IMO, let's switch to the thread Barry referenced and add anything new we might have to say there, and let this one die an ignoble death.
 
hi, loveDVX,
There are all sorts of budget movies, big, medium, and no budget.
I am also a director and for the moment I always did my feature on S16 or 35mm. For me the advantages to use the red camera are many. I'm not working for Hollywood and usually it take more than a week to see one's footage, and without the sound!!! I'm enjoying the idea to get the result of my footage directly on the set, to be able to edit the night at my hotel, and be sure the shooting match perfectly with the editing. I think I will enjoy the fact I have no limit of takes. It happend to me many times the assistant come to me and said this is the last take. "We have just one hour of film left to finish the movie".
About the grain, I think it's easier to make a footage more grainy than to remove the existing grain. Thats what I learned doing video clips and programs for TV. Cleaner is your footage more choices you have in post prod. But I'm agree with you, celluloid is so sensible now, than it's harder to find that lovely organic aspect.
My last feature was a musical (41mn) in 35 scope. I wanted a tecnicolor aspect, I went in the best post prod in Paris. They proposed a digital treatment frame per frame, which was for them the only way to do it. Unfortunatly at the time that wasn't afordable for us. As the result we printed maybe 20 copies by the traditional chemical way before having something acceptable. Anyway the result was far away of the tecnicolor. If the red camera was around at that period we would have used it. My opinion is the digital today give you more possibility to control your footage than the old chemical way.
And again as an artistic point of view you are winner.
The fact we can do the big majority of the post production at home this will reduce the budget, and give you more time to think about your feature. From my humble experience I always get frustrated by the time the producer gave me to do my work. Always not enough!
My last point is, the fact I will soon be the proud owner of a red one, it will give the possibilty to develop some programs on my own, and when the oportunity of doing a new feature will knock at my door, I will be more involve in the process. The producer willl rent another red camera and I'll have two cameras on the set. A big budget luxury! I can imagine the face of my producer if I'll ask him to rent 2 cameras. He will probably answer.. "you are not Steven Spielberg"
Yes the red camera is just a tool, and the big majority of the people here, I guess, knows that the tool doesn't make the feature. It just can help you to work in a better way.
More I work in that industrie, and more I learn to think as a producer, and if a tool can give me more confort in the creation process, I'm happy.
Bye bye my friend

Red 976
 
I think asking a cinematographer to shoot on DV is like asking Ansel Adams to use one of those "Funpack!" cameras that you can buy for your kids at walmart and come in 5 different colors. Some of my best photos have come out of a point and shoot, but I hate using them all the same.

And in that case, at least you're still on a 35mm film stock. Perhaps a better analogy is to shoot a movie on a camera phone. Sure you can capture the general idea of what's happening, but who wants to watch that? And who wants to shoot that?
 
"just wanted to know your definition of "real film"?
It will be interesting if I get one well thought-out response to this."

Isn't it obvious? The most important thing that makes a "real film" real is lots of GRAIN! :)
 
I think loveDVX has left the building! I wish him (or her?) all the best on his film. I'll get back to the writing of my future film to be shot with a Red One now.

Cheers,
Damien
 
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