[Tig] where.. neutral review RED?
mfw at musictrax.com
Sun Sep 13 06:48:30 BST 2009
On 9/12/09 9:51 PM, "Rob Lingelbach" <rob at colorist.org> wrote:
> I wouldn't berate the point except to say that I found the
> difference substantial.
disclaimer: I am not compensated
> in any way by RED or ARRI.
My experience is exactly the same to Rob's, based on doing final color on
two large-budget D21 projects this year, and quite a few Red projects over
the last couple of years. I think the blacks and highlights hold up better
on the Arri, and I also think it looks sharper overall.
Four good references I would recommend:
RED: The Ultimate Guide to Using the Revolutionary Camera
by Noah Kadner
published by Peachpit Press [ISBN #0321617681]
(more a general guide to producers and post people using the Red)
plus John Galt's technical white paper report:
"The Truth About 2K, 4K, and the Future of Pixels"
as well as Rian Johnson's report
"Red Facts: Straight Talk on the Technical Realities of the Red Camera"
and Daron Keet's comparison
"The Red One Camera -- Through the Crosshairs of my Eyepiece"
I think the bottom line is that the Red camera is definitely "good enough"
for a lot of productions (as witnessed by recent theatrical films like
KNOWING, DISTRICT 9, and THE ), and most audiences can't tell the
difference. But film-savvy DPs and colorists will definitely see the
limitations of the pickup. No way is it the equivalent of 35mm film.
I take exception to the opinion that the Red can capture 11 stops of
latitude. I think it might be 5 or 6 stops -- at best -- and even then, I
think DPs have to use a little more fill and watch the highlights much more
carefully than they would with film. I believe that digital cameras are
harder to light for than film, because they're much less forgiving with
Again, I'm not slamming the camera, because I think in the hands of a good
DP, the Red is capable of making good pictures. Like any medium, it's all
about the quality of the lighting and lenses, and the skill of the person
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