Red Buzz shooting Red with Simon

With AC/DIT Simon Manses (I Love This Camera)

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Update 2009 January

Hello fellow RED enthusiasts!

     Well we have finally recuperated from the holiday and all associated holiday celebrations (Too much good food and too many adult beverages). At the film industry get-togethers that we traditionally attend in Florida a subject of discussion was once again the Red camera. Each time we work with our free-lance pals, directors and producers, or gather for a social event, the new camera system is a point of discussion. It is always a joy to exchange "fishing stories" from RED shoots. Many comments (both negative and positive) are bantied about concerning on-set experiences (first and second hand) with the RED. There is great anticipation of working with the Scarlett model (eng style has its place in my heart for sure) but I personally feel that my true love will be my first love.... THE RED ONE 4k. Kevin and I are unconverted film guys so we will probably continue using the film style configuration of the camera for our shoots. The ability to use film style lenses, matte boxes, filters and accessories will insure not only great resolution and flexibility but give us the "film look" with highly controllable depth of field and excruciating sharpness. Each day that we spend with the 4K RED ONE makes us appreciate it more and more. For example, we have always used the rail package, and the new eyepiece is a wonderful thing. Due to Kevins' extentive motion picture film and digital photography experience he loves working in RAW with a system that allows us to use all of the trappings of a true motion picture film camera. As an old film "geek" myself I love the ability to attach a follow focus, matte box and thereby allow a wide choice of motion picture lenses and cinema-style filtration. Lens changes are a snap and if a shot is in question instant replay is available on the set. No longer do we have to wait for a lab report or "break-off" our last shots in order to airfreight the footage to the lab so as not to miss the midnight run. A high quality Hi-def monitor is however hyper-critical for seeing what you have recorded in a realistic manner.

     It looks as though the upcoming year will be busy for us, and our clients are now the ones that generate the interest in using the RED system as they also increasingly appreciate the advantages of the system.

     Until next time, ... Simon (I love this camera) Manses ... serving the industry since 1973

Friends:

As most of our clients and old time pals know, Kevin and I first met during the 1980's in Pittsburgh. What a wonderful thing to have the opportunity to revisit the old stomping ground for a brief (but high energy) film shoot. I relished the chance to see some of the "old pals" and of course stop by some of our favorite watering holes. The shoot went quite well but the REAL BUZZ came about due to the curiosity of the highly skilled crewmembers working on the shoot regarding the RED ONE. All present are quite aware that Kevin and I have been working a lot with the camera lately. Some of our buddies have had the opportunity to work with the camera, others have yet to experience the unit. But the "buzz" is out. After constantly changing mags for two days, cleaning emulsion dust and "fuzzies" from the gate, I sure missed the old RED ONE.

I made my feelings known to my co-workers in a light hearted yet informative manner. Some of the boys mentioned the idiosyncrasies of the RED ONE which I understand but must downplay. An experienced user can get the best out of the "red" with few problems and reap some astounding results.

I have therefore resolved to invite all of our readers who have used (or hope to use) the "red" to drop us an email with any concerns and/or comments. Between Kevin and I, we will strive to respond to all inquiries as soon as practicable. You may find that our experiences will save you some time and (perhaps) money.

Until next month, Simon (I love this camera) Manses

Red 4K or 35mm film?

AC/DIT Simon Manses and Director/DP Kevin Cable on-Location.

Director/DP Kevin Cable with RED