Spider-Man reboot using RED Epic cameras

[Heath McKnight]

‘Spider-Man’ Began Shooting on Monday; Cinematographer Praises New RED Epic Series Cameras | /Film

Interesting that they're using the RED Epics to shoot.

heath

[Perrone Ford]

It marks new ground for the RED team. Shooting 3D at 5K (just over 4K recorded) on a camera rig that weighs a bit more than my outfitted EX1.

Amazing technology... Been reading about this and the tests for the past few days.

[Chris Barcellos]

Sounds amazing..... Epic actually in the trenches.... cool.

[Perrone Ford]

Originally Posted by Chris Barcellos

Sounds amazing..... Epic actually in the trenches.... cool.

Wait until the buzz on the Hobbit Starts. They've secured *30* Epic cameras for that shoot.

Exciting times.

[Rick Presas]

Wow.


The Spiderman reboot

The Hobbit

The 4th Pirates of the Carribean movie


EASILY three of the biggest franchises of the last decade (Batman is the ONLY one I can think of that is legitimately bigger).

ALL TO BE SHOT ON RED.



If this isn't a CLEAR indicator of the impact Scarlet and Epic are going to make on the film industry (as a whole, not just indies), I don't know what is.

The future is RED.

[Peter Moretti]

Well no one is going to shoot 3D with film.

[Chris Luker]

Having held an Epic, they are truly small.
A 3d rig would weigh less than almost any other high end single camera.
Revolution!

[Bill Davis]

Sorry, but meh.

You don't revolutionize stuff by supplanting the stuff the RULING CLASS uses. You revolutionize stuff by putting that same power into the hands of people with NO BUSINESS being able to afford it.

Once upon a time I thought that RED might be a contender in re-inventing the video industry. But they chose a different path.

RED took the path of re-inventing the INDUSTRIAL WORKFLOW of Hollywood. Bravo. Nothing wrong with that. But the truth is that those ideas and productions were NEVER in jeapordy. The limitless budget 250 member cast and crew film has NEVER been in any kind of trouble. IT's an insular and fully mature business.

Yeah, RED workflow is now inexpensive enough to now take the place that BETACAM had during the previous geneartion. Great quality at a price that makes it an easy selection for some working pros. But I truly don't think it will EVER supplant the truely revolutionary direction mapped out by accident by Canon with the 5d. THAT has already put most of the same power into a package that a college kid with a new credit card can not only buy - but use right away.

RED will NEVER be the camera of the common man. Nor should it. IT's great at what it is. There are just very, very, VERY few people who can justify owning and operating any RED - in the face of the alternatives that have developed under their noses while they were trying to build a video camera for industry pros.

[Heath McKnight]

They changed their philosophy, and I for one respect them for it. It's still an expensive camera, no matter how you slice it.

But I also know that just having a RED ONE doesn't mean you're movie will automatically look good. I've seen great XL1 footage thanks to a skilled DP and his gaffer (lots of great lighting) vs. crappy RED ONE footage from a subpar DP and director who both thought the camera would make up for lack of talent.

But even that's RED's philosophy.

Heath

[Mike Marriage]

Great post Bill.

I think the democratization brought about Red is more the effect it has had on other manufacturers. Would Panasonic be releasing the AF100 and Sony the F3 if it wasn't for Red? I certainly think that Red has had a positive effect on the industry and the end result is that you can now buy a camera for a few thousand $ or £ that can produce stunning results. No longer is the equipment the limiting factor.

[Heath McKnight]

I think the Sony and Panasonics coming out are probably mostly due to an evolution in chips, but I'm sure RED did help them to push it out.

heath

[Sabyasachi Patra]

I think rather than the RED, the huge impact that the Canon 5D created made others sit up and take notice. The publicity was amazing which made Panasonic, Sony etc start moving. Canon opened up a pandora's box. Lets see, how much improvements and innovations they bring in, to truly democratize cinema making.

[Erik Phairas]

If Canon can somehow make a 5Dish camera with a removable low pass filter (for video) or something that has that effect things will really get interesting.

[Perrone Ford]

One of the nice thing about RAW, is that you can do OLPF *after* the fact. As well as white balance and everything else. That's really where I'd like to see these camera's go. And why, for filmmaking purposes the RED, Alexa, Viper, Genesis, and these other digital cinema cameras are so favored. RAW won't appeal to a lot of shooters, but it's a real joy to work with for those who are involved in post. I've been playing with ARRIs basic RAW tool and it's ok. The newest Redcine X is an absolutely joy to use.

This weekend I did some basic RAW file grading and output to DPX to see how it worked. It's just stunning to be honest. Pulled in some RED files from years back, and tried the new tools on that older stuff. Just amazing. That's the other thing about RAW. As the tools improve, you can go back to old stuff and improve it. Like being able to re-develop a negative with new chemicals. Amazing stuff.

I think at the mid-levels and high end, the writing is on the wall. RAW is the way to go. It will be interesting to see how far down the pipe that get's pushed. I don't think the DSLRs are quite there yet, but moving to RAW would obviate all the OLPF stuff. We really need SDXC to take off. And I saw that there has been a few compact flash standard put forth that would push the speeds much higher and capacity out to 2TB.

[Heath McKnight]

I think you nailed it on the head, it's the HDSLR movement that's forced Sony and Panasonic to go 35mm. And I answer, lenses! Glass! Give us those tools, as well. And if possible, and keeping prices lower, less compression.

Heath