Jarred visits Red HeadQuarters

Bruce that is a good question.. but right now all i know is the RED one. The DVX holds its own in the SD arena and is pretty much dare i say as close to perfect as need be.. RED is going after the less than perfect HD market right now.
 
Thanks Jarred .
i did a search and it looks like the main man behind red has posted on this site his own goals and the paraphrase ..If we could only sell to 1 percent of the people on this site ..it would not be his wishes
sounds hopefull.
The reason I ask it that I have known several millionare software guys and after all the money is counted ..a lot of these guys have a very humanistic view and want to get the "Technology to the People".
One gentleman I was honored to meet MARTIN HASH has a spline based animation software with all the plug ins -
on one disc .
He made it clear that he really wanted to get a software application to a solo animator who just wants to tell a story .

I take great hope in this view .
And I certainly hope we are dealing with another such individual here .

Our right to free speech will soon be intrinsically tied up with our right to
tell a story or report through high quality transmissable images .
I get the feeling we are in fact dealing with such an inventor here.

A sort of latter day CAPTAIN NEMO.
-Look at the torpedo!!! and look at all the Jules Verne type ethos in the lobby !!!!.
This "force or" this guy may have something big for the independent fimmaker and film journalist!!

Well I think I have just decided to sell 3/4 of my 35mm inventory .
(calming down)
Regards
Bruce
 
I think you will find Jim to be very similar to the type of guy you are describing.. I mean I only needed to meet him once to give him DVXUser's full support.... he and his ideas are that impressive.
 
That is great!!!!
we are on the right road if he suceeds ....
and I am going to start a saving for this type of camera ..
Hail Red Camera
Salus et Vita (ancient latin for health and life )
 
Do you help them?

Do you help them?

Jarred do you work with or for this company?
Matt Williams
 
at times I wish I was an engineer. imagine what you can do if you were allowed to record a feature in there? that would be tight! Still gonna shot on 35mm but I can respect a man who has that much passion and innovation.
 
We have allowed Jarred to have an "inside view" so that all of you could hear what's going on from someone you trust and respect. It is in keeping with opening up our development program through the process. If we told you... it doesn't carry the same credibility as if "one of you" tells the story.

Jarred has been terrific when he is at the RED offices. He helps out a ton and is respectful of the "secret stuff". He has earned an unusual place in this saga.

Jim
 
why isnt there a link to these boards on red.com?
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i saw a sneak screening of David Fincher's ZODIAC a few hours ago. i thought it was amazing. seriously the best. but- the movie aside, i thought it looked really really amazing. the whole time i was watching it i kept thinking how red is gonna be even better than this... it was so awesome to watch something shot digitally that was shot WELL, and treated well in post (superman returns was not the greatest example of what you could do with a digital cinema camera and neither was miami vice, the viper parts at least, for my tastes)

something like more than half of ZODIAC was shot with no lights at all. in some interview with david fincher http://digitalcontentproducer.com/podcasts/MGFincherzodiac.mp3 believe he talks about how the majority of the shoot they didnt do anything at all, just natty light and practicals, he said sometimes it seemed too dark to his eye, but then they looked at the monitor and it was exposed just fine. i remember somewhere on these boards at one point it was said, possibly by graeme, i forget though, that red will perform better than the viper in low light. anyways it looked AMAZING and i think it was projected in DLP from a DVCPROHD master, so its only gonna get better... color correction seemed minimal and some effects were missing. some of the really dark stuff was a TAD noisy, not even worth mentioning. i dont know how red will perform in that respect, but i am assuming (?) it will be better than viper in the noise factor as well. does anyone know the asa of the viper? maybe comparing viper ASA vs red ASA doesnt make sense anyway since they are so different but whatever. the point is, for me, seeing ZODIAC on the big screen was the first time i saw something shot digitally that i thought really looked great, the way i would want RED to be.. TRULY INSPIRING experience in the theater (several...

maybe theres other flicks im not aware of, but i cant think of a better example than Zodiac if you want to get a feel for how RED might be. zodiac is shot in natural light! its like seeing red test footage almost.. guessi shouldnt be too excited though cuz it wont come out for a long time... but if anyone knows some other movies that would be good to watch and THINK about red while watching, lets HEAR IT.


----->> ANY hoo- > VIPER / R E D < any thoughts? ASA/noise/blabla

(the fincher mp3 is really awesome, highly recommended to all dvxusers =p he talks about the viper and the workflow and all this really great information i havent heard anywhere else
 
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*sigh* I wish I had an "inside view". Does it mean anything if I told you I have been buying Oakleys for years? They are the only glasses that don't pinch off my breathing. :) Its true.
 
zakforrest said:
maybe theres other flicks im not aware of, but i cant think of a better example than Zodiac if you want to get a feel for how RED might be. zodiac is shot in natural light! its like seeing red test footage almost.. guessi shouldnt be too excited though cuz it wont come out for a long time... but if anyone knows some other movies that would be good to watch and THINK about red while watching, lets HEAR IT.
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That makes no sense, it's like watching a film shot on 5218 and musing how cool it would be if it was shot on 5229. But if you want to know what 29 is really like, you have to look at 29. And if you wanted to shoot 29 before it was on the market, you wouldn't babble around wondering how cool it would be once it was out, you'd be out there shooting films on 18.
 
you wouldn't babble around wondering how cool it would be once it was out, you'd be out there shooting films on 18.
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David your a student, I understand what you mean but please be nice. You might be amazed who reads here and who hires. Educate, don't denigrate.

Oh yeah, David, welcome to the forum and please remember the RED is another tool that many Professionals here wish to add to their kit. Please take the time and read Steve Gibby's posts. He is a Professional that embodies the ethos of the multi-format, multi-genre dp who finds tremendous value in constantly striving to meet his clients needs and budgets over a slew of formats and techniques.

Cheers David,
 
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Right, I think you may have read read malice into my post where none was intended, it should be read in a subdued jovial manner. I'm just saying you can't eat a pear and consider it's taste a preview of next havest's banana.
 
D. Sweetman said:
That makes no sense, it's like watching a film shot on 5218 and musing how cool it would be if it was shot on 5229. But if you want to know what 29 is really like, you have to look at 29. And if you wanted to shoot 29 before it was on the market, you wouldn't babble around wondering how cool it would be once it was out, you'd be out there shooting films on 18.
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NO sense? come on now...


all i was saying is that zodiac is NOT LIT, for the most part, and its a digital movie, and the viper has AWESOME dynamic range. and as a reservation holder planning to shoot a feature in natural light, it was GREAT to watch zodiac and THINK about other stuff
 
Right, I think you may have read read malice into my post where none was intended, it should be read in a subdued jovial manner.
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Right, sure- all in the sub-text- I missed it- no worries. But I like the obtuse follow-up.
 
A camera that can make pretty pictures with limited light is of value for more than just docs or available light shoots. I love painting with light, I might even call it a fetish - but, I don't much care for big grip and electric packages, consuming 100amps or more of power and trying to dance C-stands around smaller location spaces. There are 2 issues that I am looking for the RedOne to mitigate: 1) Enough dynamic range that I can shoot exteriors without 12' by 12' butterflys and the like, just be smart about the orientation of the camera, subject, sun and you're there 2) Being able to light interiors with some single tube Kinos, small tungsten sources like 150W & 300W instruments and get great results off one 20 amp circuit - no genny! Small focused crews who can get lots of set-ups fast and not create a distracting circus for the actors or more critically, doc subjects and in narrative work real people plugged into minor roles for authenticity (and to cut costs). There is a happy middle ground between Dogma 95 and travelling with your own private army. I am looking at the RedOne as a tool that can give me a chance to make compelling images at planet friendly wattages.

Blair S. Paulsen
RedOne #19
 
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