Next Screening of Red Footage

D

Deezie

New member
Will there be another screening in L.A. for Red footage anytime soon? Would very much like to see it projected on a big screen. Also, is there a definitive release date for those who've put in orders? I've seen some mentions of the beginning of 2007 and some referenced to early spring 2007.

Thanks for any feedback.
 
I saw the first screening.. it was cool.. but left me with questions unanswered.. i want to see 2k projected.. 1080 projected.. and i want to see a SHORT film projected with sound, color correction and the whole 9 yards.. its hard to get the full picture when your looking at silent clips that are seconds long. GRANTED we are cinematographers and the picture is what matters...but with sound/editing and a story line, it is much easier to get a feel on the product this can produce.
i would really like to see 2k up on the screen...im sure that is what most of us will be shooting
 
"Also, is there a definitive release date for those who've put in orders? I've seen some mentions of the beginning of 2007 and some referenced to early spring 2007."

It's too early to be definitive. Jim has expressed that he doesn't want to make ANY promises on the shipping date (at least not yet). For now you will have to live with the "projected" date of april-may.
 
I'm pretty sure they'll be showing more elaborate and longer clips once they have the first working prototypes built. I'm guessing NAB will be the place where they will really start showing off some more complex shots. Possibly with some kind of greenscreen/VFX work to showcase the power of Redcode RAW.
 
Yeah, man. I'm sure when Spike is put through her paces we'll get ELS, motion, high contrast, Palm trees and Oceans and all that jazz. They've stated that they're listenting, so it's just a matter of time. Frankie wasn't too mobile ;)

True story

My girlfriend - "What are you thinking" ?
Beat.
Me - "Ummm, what the new RED rails look like and the new camera design "
My girlfriend - " Again with that damn camera" !
Me - "I just have to find out this new info, then we can take a trip or..."
Then she stomps off saying something in Portuguese.

New footage or new design. Either one, patience is a virtue. :beer: :beer:

RED#'s vive la resolution
 
Hey Jim et all,
What if we happen to have access to a 2K projector, could we get a hold of some footage to put on the media server and give some local producers a preview? We are in Medford, OR next to Ashland which is the home of a famous Shakespeare festival. The Shakespeare folks have a brand new LIGHTNING 40HD-T from Digital Projection ( www.digitalprojection.com). We would be the first to show 2K footage as well as provide an opportunity for Southern Oregon and Northern CA folks to take a look. We're hoping to do something end of December or first couple of weeks in January. Any interest?
 
I´d like to see a screening from an unbiased DP. Saw such a screening a couple of weeks ago of the Arri D20 and the DP DESTROYED the Arri. Don´t feel like this would happen to the RED but as earlier a real-world-test of the RED comes the better it would be.
 
joe 1008 said:
I´d like to see a screening from an unbiased DP. Saw such a screening a couple of weeks ago of the Arri D20 and the DP DESTROYED the Arri. Don´t feel like this would happen to the RED but as earlier a real-world-test of the RED comes the better it would be.
Click to expand...
Whatchoo talkin' bout Willis ?

What did the DP find objectionable ?

:beer:

RED#'s Vive La Resolution
 
D_and_G said:
Whatchoo talkin' bout Willis ?

What did the DP find objectionable
Click to expand...

No, it was a screening in Barcelona, about one month ago. The DP was Alfredo Parra, a DP experienced with digital cinematographic adquisiton. Arri gave him the D20 for free unbiased testing and he did so. He shot different interiors and exteriors, with natural light and with lightning, he also used different settings the D20 provides. He recorded the data to HDCAM SR and transferred it all to chemical film stock without any corrections, if I remember well.

The camera had a good resolution and the typical DOF of 35mm. Now to the downside:

Even in very well lit shots there was A LOT OF FINE NOISE. Everything was full of it. The camera cuts the signals in the blacks, so they were extremely clean but the rest of the image had a lot of noise - in every setting and lightning situation they used.
Lattitude was an other problem: I don´t remeber how may stops de D 20 showed but we all agreed that it looked rather like DV. So 7 stops would be adecuade, I suppose.
It also seemed quite difficult to maintain the same characteristics of the image in changing situations and therefore to obtain visual continuity.
 
joe 1008 said:
No, it was a screening in Barcelona, about one month ago. The DP was Alfredo Parra, a DP experienced with digital cinematographic adquisiton. Arri gave him the D20 for free unbiased testing and he did so. He shot different interiors and exteriors, with natural light and with lightning, he also used different settings the D20 provides. He recorded the data to HDCAM SR and transferred it all to chemical film stock without any corrections, if I remember well.

The camera had a good resolution and the typical DOF of 35mm. Now to the downside:

Even in very well lit shots there was A LOT OF FINE NOISE. Everything was full of it. The camera cuts the signals in the blacks, so they were extremely clean but the rest of the image had a lot of noise - in every setting and lightning situation they used.
Lattitude was an other problem: I don´t remeber how may stops de D 20 showed but we all agreed that it looked rather like DV. So 7 stops would be adecuade, I suppose.
It also seemed quite difficult to maintain the same characteristics of the image in changing situations and therefore to obtain visual continuity.
Click to expand...

Interesting. The few tidbits I've heard about the D20 have been pretty positive. The noise issue is one I haven't heard of before. On one shoot, I heard good things about their low light capabilities (EXT. night). Second hand, though. Naturally, Arri has kept a close reign on the camera, but I'd love to rent it for a day...

It's good to get tests by a wide variety of parties out there. I assume that when you mention noise (not grain-type) that it was prevalent on the HDCAM tapes and not just the film out. ?

If it's only 7 stops without the ability to push or pull the footage (within acceptable noise limits) , as RED seems able to do, then that's unforunate...sort of sounds like you wouldn't want to use the camera in a shifting weather/quality of light situation... Still, a multicam shootout would show the differences.

:beer:

Thanks for responding to the question.


so you say you want a revolution
 
I hope one of 4K screenings will be in Hong Kong in 2007 so CHINA will know what CAMERA will they need for 2008's O Games in Beijing for the 4K World of D-Cinemas.

RED Gardener
for the 1.3 billion people to see the 1st 4K footage from RED in CHINA.
 
Okay, here's what I'd like to see... next showing of footage to the public to be NAB 2007, and not just a snippet or shot, but a 15 to 20 minute show reel of footage from all the prototypes that have been in the field for a couple months... sports, drama, nature, vfx plates, all put together and shown over a couple nights... in the past the Sony CineAlta festival was a great event... time for the same thing, but RED-centric.

Make footage for use in this event a MAJOR CONDITION of access to the prototypes, and assign proto cameras to groups and individuals gifted in delivering the goods in a variety of styles... we need to see "movie" lighting (set, night, action). We need nature, and we need sports (skydiving, car racing, etc.).

The "highlight" of this event could be a 5 to 10 minute short dramatic film shot and posted as an example of the camera-to-post workflow. This could be presented in the RED booth as well, as an example of just how careful attention has been paid to the overall filmmaking process...
 
D_and_G said:
I assume that when you mention noise (not grain-type) that it was prevalent on the HDCAM tapes and not just the film out?
Click to expand...

That´s what Alfredo Parra said: The noise was eclusively generated by the D 20 in almost every condition. It was not film grain: The blacks on the film out were ablsolutely black and clean because the Arri would cut its signal in the blacks.

He stated that he would have been able to tweak the image, essencially in post, to make it look much better but that he preferred a very rough film out so everybody could see best how the directly genertated image of the Arri D 20 looks like.
 
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