Red Demographic

[Homersapien]

I was wondering what the average age of those purchasing a Red Camera was, mainly to see whether it reflects a thinking that a desire to move to a digital cinema is mostly in the younger generation or if it is shared across the board by a consistent variety of ages.

I myself am 27 and will be buying RedOne as a means to help with the move towards a career in Movie making. I believe that it will help me because of the cost benefits and time restraints over film as well as the ability to learn techniques through trial and error rather than spending years observing film shoots or wasting buckets of cash on wasted film. I can imagine that many of the older generations that are involved in movie production have been in the industry for some time and as such have become acclimatized or found their place in the industry concerning the costs of production for film but this assumption could be way off which is why I'm asking.

 

[ZaneIsNumber1]

24 and a big fan of digital workflow. To be honest, it's all I know.

 

[visceralpsyche]

34. I feel positively old, hehe

I definitely fall into the younger, computer based workflow-savvy generation though and don't feel the need to remain tied to the past as far as traditional film based cinema goes. I see only benefits to an all digital, data-centric workflow and won't miss celluloid one little bit!

 

[Randomfactor]

i'm 32 and was part of probably the last generation of filmmakers to learn how to cut film on a Steenbeck (back in '91). I have seen the rise of digital technologies and have gradually gone from being a hardcore 'film-purist' to a 'digital convert'.

If the RED camera delivers half of what it should, then there is no way back to film for me - except for mastering. 35mm is still by far the best format for long term archiving. Recording your film out onto Kodak separation negatives (for R,G +B) is the ultimate, although very expensive.

I have been looking into the viability of an end to end workflow for indie's for some years now. It is now possible to do top quality DI's at far lower cost than the facilities houses would have you believe (especially if you originate digitally).

Here's an idea. How many future RED shooters would be interested in a high quality D.I. and up to 2K film out service? (4K would also be do-able, but not as cost-effective).



Adam Jeal

Random Factor Productions Ltd

 

[donatello]

56 ... RED 103 will be used for my (& friends) personal projects ...
no plans to shoot features with it ..only shorts ....shot only FILM 78-2000 ....
just haven't been satisfied with video camera's , cinealta's ...
really like the image from the Dalsa camera but it's too much (as in BIG) for personal projects .... also got to say the SI camera has a good image..

 

[WarrenS]

Another baby boomer at 53.

Hey Random, do you have some DI possibilities/connections? I'd like to hear your idea.

Red Titanium Token #410

 

[garth hagey]

33 - shot my first movie (love that term, it's so platform agnostic) on betamax at the age of 10. shot 16mm since 92. completing post on my first feature shot on 35mm, with a small percentage of super16 and MiniDV as an aesthetic choice. I am a self proclaimed film snob. really, though, they are two different media. To me it's like painters fighting over whether acrylic should replace oil. Okay, true there is a difference in distribution and Internationally, I don't see 35mm prints disappearing all that soon, as far as acquisition goes, why not widen the palette? personally I see myself as an artist who works in film and video, depending on what the project's aesthetic, and yes financial, requirements are. To me resolution is not king for every motion picture expression, as I once thought after buying my bolex, I passed on this truly wonderful Super8 camera, which I now regret. Heck, even the pixelcam would be fun to work with. I have come to love video, BetaSP and miniDV for it's own unique qualities and not as a cheap substitue for film. I have yet to shoot HD but look forward to shooting beyond it. I have worked in different modes from completely spontaneous grab the camera and some friends to years of script development, script breakdown, shot list, 40 crew members, etc, etc

Red #98 will be used for experimental, documentary, personal, essayic, diary, sound/video performance, surrealist web based sitcoms, and my next feature. I will continue to shoot Super 8, 16 and 35. But I may be a little distracted at first by my RedONE, even if she's not the only one.

(phew, I apologize for the apparent digression, long time lurker had alot to get out. I beg your indulgence.)

 

[boothba]

I beg your indulgence.)

Hey Garth. We just had our 10th year film school reunion last week at the Library Pub. I think you were on Shinkonda's big MIA list. Now we know where to find you!

Have you had a good decade? I sold my soul to the man and now he won't give it back. How's yours? Anyway, let me know if you ever need a second RED for one of your shoots. I'm still in TO.

Alex Boothby
P.S. - Where can I see your feature?

 

[Randomfactor]

Another baby boomer at 53.

Hey Random, do you have some DI possibilities/connections? I'd like to hear your idea.

Red Titanium Token #410

I have a workflow that I believe offers a good balance between quality and cost. Back in 2002/3 My production company was looking to set up a D-lab based in Soho using a Discreet Lustre and Arrilaser among other pieces of kit. There are now quite a few facilities in Soho that use this kind of kit (or Baselight, Quantel I.Q. etc..). The point is that although 'deals' can be done, they are still out of the reach of most indie productions as the facilities houses are all trying to claw back their expensive investments, hence high costs. My idea is based around offering 4.4.4 RGB and 2K DI's to Indies with budgets between £350.000 to £1 Million. Customers would be provided with a 35mm Negative and a universal master (all London facilities charge separately for this). We would offer this service to digital productions only as we feel that there is now more than enough of a market and the costs of purchasing and running a 35mm scanner are prohibitive.

Adam Jeal
Random Factor Productions Ltd

 

[Emanuel]

i'm 32 and was part of probably the last generation of filmmakers to learn how to cut film on a Steenbeck (back in '91). I have seen the rise of digital technologies and have gradually gone from being a hardcore 'film-purist' to a 'digital convert'.

37 and the same generation or background here but I'd rather be a 'digital convert' than a 'film-purist'. IMHO, the budget restrictions will still have been an obstacle to the art form. More than anything else. Such digital tools can have a decisive role on the future of this sort of work. And this is what we hope RED will bring to this difficult artwork arena -- more a typical craft than the upcoming average business.

 

[jlaurili]

36. Never have used film and never will. Love digital cameras. Used video cameras and camcorders since I was in my early teens. Use computers for most of the day. Always want to be on the cutting edge.

 

[Randomfactor]

37 and the same generation or background here but I'd rather be a 'digital convert' than a 'film-purist'. IMHO, the budget restrictions will still have been an obstacle to the art form. More than anything else. Such digital tools can have a decisive role on the future of this sort of work. And this is what we hope RED will bring to this difficult artwork arena -- more a typical craft than the upcoming average business.

Was a 'film-purist' emanuel! - I think your absolutely right about how closed minded the industry is to change. I'm glad I finally got all that crap out of my system years ago. 'Conventional Wisdom' is a killer to creativity but I believe that people need to educate themselves in the ways of the biz so that they can go forward and 'do their own thing' without too many problems. RED will undoubtably make a huge difference. Yes - it is the talent behind and in front of the camera that matters, but so do the tools!:thumbup:

Adam Jeal
Random Factor Productions
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[kalone]

I´m 28, but I´ll wait until mid 2007 before any Red-related acquisitions, hope not getting bashed, but it´s too risky for me to buy any V1- products - I´ve been spoiled in 1997 with a 20.000 german mark computer with first generation Pentium 2 / 300 Mhz and ( the bigger chunk ) my brand new series 5 BMW that went to the workshop 5 times...

By the way, I shot both, film and video , but can´t wait to get the conveniences of video with the advantages of film.

K.

 

[Randomfactor]

By the way, I shot both, film and video , but can´t wait to get the conveniences of video with the advantages of film.

K.

Amen to that K!

Adam Jeal
Random Factor Productions Ltd

 

[jahlion]

27. I will be starting my own production company within the next couple of years. Never used a video camera, but I have been working in post-production since 2001. I used to work for Doug Trumbull's company in Sheffield, MA. The building, which has been empty for the last couple of years, has a huge greenscreen stage which I'm hoping to use for my studio.

 

[lpcvideo1]

41. I am on the boundary line between the baby boomers, and generation . . . er, whatever they're calling themselves/ourselves now. I can be in either one, depending on which generation is being stupid at the moment.

 

[Sarmoti]

i'm 32 and was part of probably the last generation of filmmakers to learn how to cut film on a Steenbeck (back in '91).

I was cutting film on a Steenbeck in my Film School in '97 even though we did have Avids available. Heck, Spielberg still cuts on a Steenbeck.

 

[Randomfactor]

33 - To me resolution is not king for every motion picture expression.. ...Heck, even the pixelcam would be fun to work with.

I Love Pixelvision!!! It's every bit as cool as RED (in it's own way!).

I intend to use PXL 2000 footage in my feature film 'Static' which I will be hopefully shooting on my RED's sometime next autumn. Hope Redcode will let me up-res Pixelvision to 4K

Adam Jeal

Random Factor Productions Ltd

 

[Randomfactor]

41. I am on the boundary line between the baby boomers, and generation . . . er, whatever they're calling themselves/ourselves now. I can be in either one, depending on which generation is being stupid at the moment.

the zeitgeist eh? - its a real pain in the ass
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Adam Jeal
Random Factor Productions

 

[Randomfactor]

I was cutting film on a Steenbeck in my Film School in '97 even though we did have Avids available. Heck, Spielberg still cuts on a Steenbeck.

So does Ken Loach. I'm glad I learn't the old way as it helps you to better understand cinematic grammar. Yes, rules are mean't to be broken but I personally can't stand to see the kind of ADD inducing cuts that are so widespread today.

Adam Jeal
Random Factor Productions Ltd