Showing posts with label red. Show all posts
Showing posts with label red. Show all posts

Wednesday, September 23, 2015

The new RED Raven

RED has teased at it's newest camera, The Raven, and will be announced September 25th. It is currently rumored to shoot 4K at 120 FPS and has built-in WiFi.


Most of the information currently known is based on speculation, leaked information, and leaked photos via employees and the president at RED. The raven will most likely feature a fixed mount, which fans are speculating will be an EF mount. From the above picture it is likely that the Raven will take mini-mags for media storage. 



Based on announcements from other companies, fans are guessing that the Raven will come at a price point of under $10,000 (body only) and will be replacing SCARLET MX. More information will be released on Friday during the official announcement, but until then, speculation will have to get your fix. 

Thursday, September 10, 2015

It's Not the Camera...

The common questions that is raised among student filmmakers is, "What camera did you use?" While each camera has it's own perk, the Phantom with amazing variable frame rates, the RED with insane resolution reaching up to 8K, or even the A7s with its outstanding low light capabilities, it all really comes down to the operator. Its proven every day on Instagram that you can produce beautiful images with an Iphone or Go Pro. But there have also been plenty of bad movies shot on high level cinema cameras as well.


Above is a video created by DigitalRev that shows filmmaker Philip Bloom create a very unique piece of work with just the camera that comes in a specialized Barbie doll. If you have the chance to watch it please do, it is quite amusing and the results will amaze you. Below is the trailer to a recent Sundance film that was shot completely on the Iphone 5s and has been one of the most talked about movies to come out of the festival.

These are just two real world examples of how the camera really doesn't matter when it comes to story. Films are about relaying a message. Even though I would love to shoot pretty Bokeh images all day long, the fact of the matter is viewership comes from how well the story is told. Only the film students in the audience will be thinking about what camera and lens the DP used, the rest of the audience will be focused on what is happening in the universe that is being created before their eyes.

Composition of shots and the technical precision of the camera work will be noticed in film only when done badly. But when done right, these factors drive the film. Blown out windows is commonly a jarring feature of a movie and the most common mistake among students is breaking the 180 degree rule. But both a RED and a Iphone can break this universal rule.

We are no longer in the age of film where every shot literally costed money. With digital media you can shoot for hours on end for no extra cost, and this has created a shift in the way filmmakers work. Any yahoo can operate a camera but doing it well is another story. 3 hours worth of bad footage will never trump the longed for 1 minute tracking shot. We are sacrificing quantity for quality and students are the number one culprit. We need to get back to focusing on how the technology we have available to us can add to the story rather than focusing on what certain cameras can and cannot do. Will 4k really make your movie better? Or is it just being used because thats what "The Hobbit" shot in? Story is the center of cinema, the camera is what relays that story, they are two separate factors that combine to make a masterpiece, but only when sculpted together with the right hands.

Thursday, September 3, 2015

A look into the night with the Sony A7s (Part 1)

Recently I was able to make a huge investment for myself as a filmmaker. I introduced myself to a new camera, the A7s. I have had my eye on this Sony product for quite sometime now. I have been blown away by it's dynamic range and high ISO capabilities displayed online and now I finally get a chance to use this in a real world setting.

(A still from the A7s, Sigma Art 35mm 1.4)

So where to start? The Sony A7s has so many favorable traits its hard distinguish a starting point. I'll start with my three favorite features and move on throughout each blog post, addressing individual features as we move along. For myself there were a few things that I found desirable about the camera that swayed me to switch from Canon to Sony. First off, variable frame rates. I previously shot on the Canon T3i as it was my starter camera and boy did it get me through some times. However, the highest frame rate you can go is 60fps at 1280x720. This is universal through most Canon DSLRs.
 (Tokina 11-16mm 2.8)

The 5DmkIII, which previously ruled the DSLR world, couldn't compete. The A7s can also be boosted to 120 fps with the downgrade to 1280x720. It can't compete with the Phantom or RED, but for a Full-Frame DSLR, this variability will get the job done. The video posted below is shot completely in 60fps.  All footage is played back in realtime until brought into post to be altered. 



While the variable frame rates are so much fun to play with, thats not all there is to this beast. The ISO is off the charts. Most of the footage above, besides what was indoors, was filmed at upwards of 30,000 ISO. This was my first day with the camera and I really was enjoying this party trick. Grain in the image began to increase as I went up, however it is quite clean around 20,000. Some 50,000 iso footage can even be salvageable. Once you increase upwards of this threshold you will need to use plug-ins like Neat Video to decrease grain levels.

 (Sigma Art 35mm 1.4)

Many filmmakers have highlighted in reviews this outstanding feature, and I hope to learn how to take advantage of this feature and really get some outstanding footage. Once difference I noticed is that the Video ISO is much cleaner at much higher ISOs than the photos. This is due to the sensor only having 12.2mp, thus the pictures suffer loss of quality in order for the video to prevail. Although the resolution is not quite up to par with Cameras like the 5D or even the A7s older brothers the A7 and A7r, the pictures produced still look very nice when paired with the right glass.

While these two capabilities are useful and help with more advanced shooting, you can never forget the little things. The live recording punch in feature is so handy and is something I've been looking forward to for quite some time. Paranoia strikes at the strangest times, especially when conducting interviews. The everlasting battle of not being able to tell if you have something in your eye or if your shot is soft. Being able to punch in and check focus is an amazing feature especially when it comes to doc work, not only in interview settings but out in the field too. The back tilt able LCD screen paired with an amazing EVF makes this camera very diverse. 

(Sigma Art 35mm 1.4)

Using the EVF paired with the punch in focus feature will be great when recording in the field and you need that extra assurance that the subject of your shot, whether that be an animal, mountain top, you name it, is in focus. There are multiple custom keys on this camera that you can arrange which ever is most comfortable for you. I prefer to have my C1 button (located on the top right corner diagonal from the shutter release) to be my short cut to this handy feature, but to each their own. 





I'm very excited to start using this new investment for personal projects, thesis films, and even try my hand at time-lapses. It feels weird making the next step of your career goal and being faced with new and unique situations. While the learning curve in this industry is always changing, this factor is what drives me to be the best I can be. There will be plenty more reviews to come in regards to the time-lapse capabilities, picture profiles, and much more. Until next time. 





Friday, November 22, 2013

MōVI STARTS MOVING

Earlier in the year a couple students, including myself, posted about the new MŌVI... a hybrid type of steadicam that can provide very smooth shots in versatile situations. The device is already being used in a couple productions, but one production team has actually worked with MŌVI technicians to mount a RED Epic camera onto this flagship device. Their creation is pretty cool looking... a mechanical dance routine on an artistically lit backstreet, all with the MŌVI flowing around the scene:


When interviewing GAREN, the producer of the music video, he stated:

Did using the MōVI make my job as a producer easier? No. Did we come across difficulties because of its learning curve? Yes. Did it cause us to lose some time? Yes. But these things are all to be expected when embracing new technologies.

His answer seems very logical and brings forth the point that the MŌVI is not yet meant for anyone to pick up and start making their very own backyard video. It's a technical piece of equipment and it will take the industry a little bit of time to discover its full potential. 

Of course what would any of this be without a handy behind the scenes video?


Read more about this on nofilmschool.com

Friday, November 8, 2013

The Sixth Sense: Symbolism of RED


I was taken on the craziest ride this weekend. It was brilliant. There were so many twists and turns, ups and downs, and so many beautiful things to see. No I am not talking about any over the top rollercoaster from Six Flags or Disney World; Im talking about the thiller movie, The Sixth Sense.


Written and directed by M. Night Shayamalan, my utmost applause goes to him for this revolutionary masterpiece.   Never before have I been left wondering and wondering about what is going to happen next, and rarely have I been completely surprised and tricked by the ending results of a film.  Has there ever been a time where a film moved you or blew your mind so much that you couldn’t stop thinking about it? Well I found myself thinking about this film for days. What was it about this film that was different than anything else Ive seen? It took me some time to distinguish it but I found several reasons of why is so great and why M. Night Shayamalan is known as one of the best in the industry. However there is just one factor that stuck out to me that is pure genius!

The SYMBOLISM of RED

The color red has a profound effect in this movie. It alone symbolizes fear, danger, blood, energy, strength, and power. It is known to have the effect of increased heart rate and breathing, as well as heightened emotion without you entirely realizing it. So that being said, do you think it is coincidence that we always saw the color red before we saw a ghost? I doubt it, in fact for that reason I believe that it is why we never see red in any other scenes besides those particular ones.  They symbolized that a dark presence was around and that something was about to happen. It subliminally prepared us for something tragic and unexpected. It ultimately represented the spirit world and we see it in many different ways throughout the movie.

1                                  1.  Cole is wearing a red sweater to a kids party, where he was drawn to the voices he heard coming form the top of the staircase that lead him to his terrifying encounter with the entity in the attic. Also during that same sequence, as he was walking up the staircase we see a red balloon rise to the light at the top, which could symbolize that a spirit has gone toward the light to God with the spiral staircase representing the “staircase to heaven” and journey of life.


                  2.  When Cole and Malcolm attend the funeral of Kyra, a young girl who just                         passed away, we immediately notice the red jacket and lipstick that the  mother is wearing, which symbolizes death as well as evil, for we eventually find out that she was the one who killed her daughter.  Also the box that Cole carries down after his encounter with the Kyra which contained a tape that was wrapped with red ribbon which held the purpose to show that we were about to see something bad. And seeing the red cards from friends and family initially give us the foreshadowing that Cole is going to see a dead person.

             3. From the very first scene of the movie with Cole, we see him immediately leave school and retreat to a church which had two big red doors at the entrance.  This seemed very ironic to me at first because a church is known to be one of the most spiritual places to be.  However Cole liked the positivity of  the church and the comfort it provided by being in the closest place to God.  In addition to, once he goes home, Cole has a red tent in his room that he uses to  protect himself from the spirits chasing him, which is occupied with many religious figures he uses in hopes to repel them.  However, like always, the color red represents death and spirits and attracts even attracts them, yet it also represents safety, hence the Red Cross and a lifeguards.



            4. Besides coaching Cole through his disability, he is also trying to fix the mistakes he made with his wife.  He wants her to know how much he loves her.  Every time we see her, she is also wearing the color red, go figure.  Though I must be honest and say that I did not pick up on this one until     someone pointed it out. But its true. The shade of reds aren’t as bright as all the other ones were. They were either soft or very dark and not as obvious.   This reflects her mourning and depression that she is feeling from the losing her husband.


 5. As a young boy in distress, the person he always wanted to turn to was his mom but she didn’t understand what was going on with him and would get tempered and upset when he had an episode.  She was never seen wearing any red at all in the movie until the end.  Since she never accepted his reality and was never associated with Cole’s sixth sense she therefore has no connection to the spirit world at all. However, at the end of the movie when her and Cole were caught in a traffic jam due to a fatal car accident, that was the first time we saw her wear red. This is significant because that was also the same moment when Cole revealed to her his secret of seeing dead people and she finally accepted it, which is why that scene was so moving.


The color red was a major influence on this movie and M. Night Shayamalan so perfectly made it such a crucial part of our experience as well.  This is by far one of my favorite films in the sense of wonderful cinematography, writing, characters, and symbolism, and I look up to this film as I hope to be able to create something of such standards.

Friday, December 7, 2012

TimeScapes

Time lapse photography. I am fascinated with it. When we talked about Koyaanisqatsi (and a couple of other related films that I can't remember right now), I immediately thought of a project that I saw on Vimeo a couple of years ago, TimeScapes...

When I purchased my first DSLR, I researched a bunch of different tricks I could do with it. I naturally went to Vimeo where I stumbled across the profile of award-winning cinematographer Tom Lowe. His focus was nature, and his work was some of the most beautiful I have ever seen. He soon embarked on a journey across the American southwest to record some of the most beautiful landscapes and cultures on Earth.

Released a few months ago, TimeScapes is the first 4K film to be sold to the public. While I have not seen it yet, it looks gorgeous (I really want to see it, but am waiting for some cash so can purchase the Bluray version... damn being a poor college kid). From all of the trailers, I can gauge a few things: the night sky is freaking beautiful, I want a RED camera, time lapses are even cooler when on a moving rig, and there is no need for a narrative to make a film work.

Non-narrative films are things that I am starting to enjoy. As I grow up, I appreciate art more and more. These films are as much art as they are entertainment. With my camera and remote shutter/timer, I hope to someday create something 1/100th as creative as TimeScapes.

Check out one of the many awesome trailers for TimeScapes below. And for more information on the film, check it out here.

Saturday, October 20, 2012

Colors and other Elements in Requiem for a Dream


For the 89398th time, I watched Requiem for a Dream last night with a few of my friends. I’ve always admired this movie for it’s cinematography, whether it was the split screens, the extreme closeups, or for strapping the camera to the actor. However, while watching the film this time around I noticed something that really stood out to me; color. In a lot of my classes recently we’ve been learning about how important color is in any sort of media: photography, television etc. In this film 
In the beginning of the film, there is a strong use of cool colors, showing the calmness of all the protagonists who are not yet in any real trouble. However you start to begin to see the color red a lot more frequently when things begin to go down hill. For example, one of the films protagonist Sarah Goldfarb, has a recurring dream of herself on a television show in the same red dress. She becomes obsessive with this red dress, as she does with being on television. This obsessed begins her downfall and soon more reds show up. Next, she decides to dye her hair a similar shade of red.  These reds really stood out to me more than any other color. The reds played the role as a foreshadow for her losing her mind and symbolized danger in her life and mind. A scene that really portrays this is when she’s spinning around in her red dress and applying red lipstick on herself. This creepy slow motion scene is full of reds, and gives an eerie feeling. The bright red was the only color that would stand out in the scene, making you focus your attention on her and only her. 
Although the other character’s did not have colors that stood out, there was a strong use of cool colors when Harry Goldfarb another protagonist was fantasizing or drugged up. When he lays with his girlfriend doped out, the lighting has a blue tint to it and when he fantasizes about her, the blue sky stands out more then any other color. This represents the tranquility and calmness in his mind. 
This movie has a lot of amazing elements other then colors, the soundtrack adds to the plots mood and the camera shots as mentioned before differ from each other and really stand out. Although this movie has a sad ending and isn’t for the weak stomach, I recommend this film to anyone who loved Black Swan or The Fountain.