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Can someone point me towards an article on what filming skiing with the red is like? Ive heard a ton about the camera, watched some online footage, but im intrigued about the workflow for filming skiing. Any info greatly appreciated. I want to know specifically how it compares to shooting 16mm. Nice work on the new film! Looks great.
I shot the RED camera at the Targhee shoot for UTI. It is a super sick camera. I am and have been a complete film snob my whole career and have snubbed all the other formats(If you have the budget to snub, otherwise I believe you shoot on the best format you can afford). The RED is not video. It is digital cinema. It does not look like film. It does not look like HD. It looks like RED. The footage is super sharp, has tons of color space, amazing depth of field, and is just really cool. It can handle the brightness of snow like no non film camera has been able to do.
All that being said, the RED One is not a very good for shooting skiing. It is too big. An assembled package is 35-40 lbs. You need to carry an additional 15lbs of gear as well as an extremely large tripod to handle the weight. the setup I ran was two Dakine camera backpacks full. It would be possible to go to one pack, but it would have to be custom and it would be a beast. It really is like a 35 mm camera(Arri 435) in weight and in needing an AC. I think the Scarlett will solve this set of problems. They pulled the original design off the website and said they are retooling the camera. It is my belief that RED learned so much from the RED One that they needed to implement some of these things into the Scarlet. I think the Scarlet will be more pro than originally laid out and will be a compact, lightweight digital cinema camera.
The next problem is workflow. It is very complex and the files are massive. There is no definitive answer on workflow, other than to say you should evaluate your final output and go from there. I always recommend shooting and archiving your footage in the highest resolution possible, so that decision is easy. You need to color correct all your shots. The RED shoots RAW images and you do not give it your look until post. You basically try to nail your exposure and then go nuts, because you have so much information and color space available from there. With a camera like the P2, we set our look in the feild and it requires very little color correction. Not the case with the RED. As much as this is a problem, I think once you get your system down, it then becomes a matter of just going through your steps. I also believe the workflow wil simplify in the future. I hope that helps.
I thought this was a pretty interesting profile of red, with a couple of links to some sick looking footage.
How has TGR's rig been for reliability?
I've worked on a couple RED shoots and every camera guy there always says you cannot have just one.
You have to have two or three.
That is my only concern about the forthcoming scarlet regardless of what the specs are. Because the specs before they said they are going to retool sounded amazing.
These aren't R&D'ed in house cameras, they are betas being R&D'ed by the consumer...it's hard to argue with the images though.
If I said this on the red site I'd be shot.
Awesome info Todd!!!