"We did a side by side test with a RED camera and an Arri
435 at the locations where the movie was to be shot. After processing and
D.I., we did a film out and presented both sets of images to the producers.
All picked the "shot on film" images on the right as the best ones. They
were half right. It was the best footage, but the footage on the right was
shot on RED, not film. Both Don Burgess and I were shocked that RED handled
the actresses' skin better than film. It had a creamy quality, more of an
old style trick that dp's used to use when they put pantie hose on the back
of lenses. We are now one week into shooting and we couldn't be happier with
the look we are getting."
Albert Hughes, director, "Book of Eli"
“It looks like film. However, if you finish and screen at
4K, the result is like shooting in 65mm, like the old epics used to do. It’s
pretty exciting, and will have a major impact on indie filming – but we
could see no reason why you couldn't use these cameras for any type of
movie. I'm seriously considering using RED One for The Lovely Bones.”
Peter Jackson, director, Lord Of The Rings
& King Kong
“I have had the opportunity to test the RED One camera
over the past few weeks, including a direct comparison to the same film I
shoot on 24. All I can say is that I am totally amazed. Revolutionary might
not be a strong enough word to describe what RED One is doing.”
Rodney Charters, Cinematographer, 24
“We're shooting RED One side by side film. We scanned the
film 4k and took both into the Baselight, compared them and then did a
filmout of both. When we screened side by side, we literally could not tell
the difference. In fact, most people picked the RED One footage as film
because of a greater dynamic range in the highlights than in the 5218 [a low
grain, high sensitivity Kodak film stock]. It's not enough to say it is the
best digital image out there. The fact is, finally, we can intercut digital
with film. It looked remarkably better than the filmed images. I thought I
would never be able to say that.
Jon Farhat, VFX Supervisor, Wanted
“Shooting with RED One is like hearing The Beatles for the
first time. RED One sees the way I see. Someday I hope to find out exactly
how Jim and his team made something so technologically advanced seem so
organic, so beautifully attuned to that most natural of phenomena, light.”
Steven Soderbergh, director, Solaris,
Ocean's 11 & Traffic
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