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HomeGearTrend Spotting-Red Camera Tests

Trend Spotting-Red Camera Tests


Cinematographer David Stump recently went to Red’s Lake Forest, Calif. facility to test the company’s new 4K camera – the Red One. Overall, he reported that “the Red Camera seems to be headed to join the lofty group of cameras headed into the brave new world of 4K image acquisition… Shooting went very well, the prototype was extraordinarily well behaved. The image from the sensor has a pleasing look to it, not noisy, not grainy, not sharpened by any sharpening kernel, and it color corrects easily, yielding very pleasing and true colors.” The company has taken a total of 1,070 orders from eager filmmakers, each prepared to pay a $1,000 deposit for a camera, sight unseen. “Of everyone who could possibly order the camera, about 1,100 people were brave enough to order it sight unseen,” said Stump. “How many more are waiting to order it after 1,100 are already out there?” But while he was impressed with the camera, Stump acknowledged that there are still a lot of workflow issues to be sorted out.”Just because there is camera that is affordable that is able to do 4K doesn’t mean that the rest of the workflow is going to be immediately affordable,” he said. “But they’re working toward that end. “The biggest challenge of working with 4K is dealing with mountains of data, but Stump, a member of the American Society of Cinematographers, believes that it’s important for cinematographers to keep the pressure on manufacturers to build better and better tools. “We’re kind of in the business of making unreasonable demands,” he said. “If you don’t make demands you don’t get better tools. If you don’t make articulate demands of the community, then the quality of your work never improves.” Stump reports that the major studios may also be pushing the industry in the direction of 4K.”There’s starting to be a little bit of backlash against doing things in HD for theatrical at the studio level,” said Stump. “And I think we’re moving in to a period now where the studios expect more out of their acquisition technology, instead of just being wowed by how beautiful and cheap and how ‘almost like film’ you can get using cheaper media.”

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