L.A. screening

Hey, you can see my beenie in one of those.

I thought the screening was better than the Nu Art because you got to see how well the Red footage looked compared to 70MM film! And it looked great.
 
I'd love to get my hands on it as well. That said, they have their hands full right now... I wouldn't be surprised if the next footage we see is from prototype 1 in a month and change.

I'd post higher-res versions of my own pictures, but you'll get nothing from it that you can't get from the small ones.
 
I've cropped all the pictures to some extent... my position is easier to see in some that I haven't posted. I was in the row behind Ted, I'm the guy who asked if the footage we saw was 4.9K scaled to 4K and if the REDCODE was 10-bit or 12-bit.
 
Great report guys! Thanks. It makes being in the middle of this snow storm a little nicer to live with. (As I was driving into work I imagined how this beautiful night street scene in snow would look shot with Red.)
 
Brook Willard said:
I've cropped all the pictures to some extent... my position is easier to see in some that I haven't posted. I was in the row behind Ted, I'm the guy who asked if the footage we saw was 4.9K scaled to 4K and if the REDCODE was 10-bit or 12-bit.
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Thanks for those pics Brook ;)

I've been wondering what the footage looked like on the longer shots (even in a general way). For those who were there, what was the shutter like - with regards to handling motion. If you had to approximate comparitively, did it emulate the Genesis, D20, Grass Valley, ???.

Were these all static shots (no panning, dolly) ? I know Frankie isn't mobile yet, though. :)

It's pretty incredible to think that we have on order a camera that isn't blown out of the water by 70MM footage (India). I would have bet a year ago that wouldn't have been possible. Good thing I didn't ...:beer:


RED #'s rebel with a clue
 
They were all static or on a fluid head. The Porsche shot is a dolly [note the position of the car as compared to the still frame on RED's site] and the camera/glasses are obviously on a turntable of some kind. AFAIK, all of the footage [other than the 300mm shot] was shot on the Cooke S4 65mm.

I put together a decently extensive write-up on the previous L.A. screening... I may post it here for footage discussion. To say it simply, it looks like the cleanest, most grain-free film ever. Now that I have a direct comparison to both 35mm, 65mm and 70mm scanned in 4K... its clarity is superior to 35mm [though The Sound of Music obviously used a vintage stock so comparison is unreliable]. Motion characteristics match film better than the D20 and GV footage I've seen, though one must remember that this footage isn't exactly a car chase.

I may post the longer report later, it's time for work.
 
Brook Willard said:
its clarity is superior to 35mm [though The Sound of Music obviously used a vintage stock so comparison is unreliable].
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I'm sure The Sound of Music was chosen for this presentation because it was originally shot in Todd-AO 65mm...
 
Brook Willard said:
They were all static or on a fluid head. The Porsche shot is a dolly [note the position of the car as compared to the still frame on RED's site] and the camera/glasses are obviously on a turntable of some kind. AFAIK, all of the footage [other than the 300mm shot] was shot on the Cooke S4 65mm.
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Thanks for that :beer:

I've been playing a bit of catch up, so I haven't seen your write up. I was mainly wondering if they moved the camera (not stationary objects like the glasses) and how those cuties looked moving about, shutter-wise. Granted, these shots aren't the formula 500, so judging shutter and motion isn't the same. Has Jim mentioned which shutter aesthetic they're going for ?

Hopefully, RED may get around to a T.O screening before they start shipping the cams. Can't let you guys have all the fun. ;)


RED#'s cautiously optimistic
 
Jim Arthurs said:
I'm sure The Sound of Music was chosen for this presentation because it was originally shot in Todd-AO 65mm...
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Wow, I did not know that. Thanks for the heads-up! :thumbup:
 
Frankie does not like to be moved around. December PROTO X camera is mobile... we will shoot the footage you seek. :-)

Jim
 
Jannard said:
Frankie does not like to be moved around. December PROTO X camera is mobile... we will shoot the footage you seek. :-)

Jim
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Lol. :thumbsup:

Thanks. I sorta figured that, but was curious. I have full confidence in you guys. We have to come up with a better name than PROTO X, though :)

I guess it's sort of like a newborn baby. You have to wait a little while to see it's personality before you give it a nickname :beer:


RED #'s cautiously optimistic
 
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D_and_G said:
......... We have to come up with a better name than PROTO X, though

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Yeah, it sounds like an early 80's 'Alien' ripoff.... y'know, something that would've starred Michael Pare & Klaus Kinski.
 
Also, I asked when we'd be expecting to see the first bight sun lit footage (don't remember if I mentioned shadows in the same frame but I guess that goes unsaid) , and the answer was something like "Yes, soon" No date was given but it sounded like they feel the need to show it soon or at least that they want to show it soon and they might have a good idea of when that might be... It will be one of the bigger details on the development of Red so you guys at Red seem to be doing the wise thing and waiting to show samples only when you have it close final capability... Is that so? Can we get an idea of when?

:Drogar-Love(DBG):
 
Actually, her name is "Spike". I was going to keep it quiet, but don't like people thinking that Proto X is the best we can do.

Jim
 
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