Nick Vaughan

Hello there.

I'm writing a research paper over the possible effects of the Red One camera on cinematic production in the United States. Do any of you guys know of some valid articles/sources regarding the performance of the cam? I have access to several thousand electronic resources through my university's library, but sadly, I have only found one article about the Red One.

It's quite an interesting prospect...pulling film completely out of the process of creating a cinematic experience. I just need to find some people who are writing about this damn thing.

Thanks in advance,

~N. Vaughan

Perrone Ford

Head over to Reduser.net. You'll find everything you need.

Scott Webster

Contact James Mathers through the Digital Cinema Society
www.digitalcinemasociety.org

Doug Okamoto

Hi Nick,

The RED Digital Cinema camera is still so new that there is very little objective information written about it. I believe it has polarized the film (and even the video) community to the point that some people are not thinking rationally! I think this will affect the communities for some time.

You can look at this article http://provideocoalition.com/index.p...s_ex1_f23_red/ that I think is the most rational one I've seen about the RED One. Adam Wilt is a well respected member of the video family but the article was trashed to no end on several other forums even though he admitted that he did not have enough time to adequately review the camera. You will find on user forums some user experiences but take it with a grain of salt very few are as objective as Adam is. Fortunately I believe you can get more rational thinking here at DV Info Net. I know Chris Hurd wouldn't allow nonsense here!

Brian Drysdale

I don't think you can just look at the RED ONE alone. Dalsa have another approagh, which might actually begin to get moving now that they've a means of recording their RAW data in a more manageable basis using wavelet compression (JPEG 2000 and CineForm 4K) plus a new lighter camera in the wings.

Perhaps not for the lower budget productions, but with the Origin (without lenses) renting at $3,000 a day, it isn't that wildly far out compared to the $1,200 a day for a RED ONE from one rental house. Since most feature film productions rent their camera equipment, on a higher budget film that difference isn't significant.

There's also the Phantom, the Arri D20 and with 2k 2/3" chip the SI 2K.

Film still has a lot of life in it, so I wouldn't say that it's "pulling film completely out of the process of creating a cinematic experience". However these new "data cameras" do allow a different means of doing so.

Nick Vaughan

I really appreciate your responses! I shot Mr. Mathers an e-mail.