Film, Gadgets, and Geekdom

Ok, so that title is a bit… suggestive.  Get over it.

Last night, I attended another meeting of the Independent Film Makers Coalition, aka IFC.  This is the organization that hosted the One Night Stand 10 Hour Film competition.  There was some drama the competition screening and last night seemed to be “talk shit about people behind their back” night.  I wasn’t impressed with the lack of professionalism of many of the IFC Board members.  The guy resigned, let it go.

Anyway, the big piece of awesome I got to hang out with last night was a RED One.  This is a 4K camera.  That means it has an active resolution of 4520 x 2540 pixels.  Compare that to the highest HD signal you can get on your TV at 1920 x 1080.  I think I just saw some of your eyes glaze over.  Here, look at this:

That 4k there?  That is where the RED One sits compared to 1080p.  Look how much bigger that image is, it is absolutely astounding!  I actually got to stand next to this machine and talk to the guy who owns TWO of them.  He is currently in the process of shooting a feature this is about to become the only two RED shoot in the Midwest.  That is just too cool.  He said that just the body runs $17,500 and when you get all the  lenses, power, and storage accessories, you are looking at a total setup camera of around $40,000.  Now, I understand that is a LOT of money, but look at it another way.  Other cameras that aren’t even capable of what the RED can do, run around $250,000.

Then, at NAB this year, RED introduced the RED Scarlet.  A 3k camera that will run around $3,000.  It will include a lot of stuff that will allow it to come out of the box ready.  The Scarlet doesn’t have as big of a sensor in it, but it does have a damn big one.

The RED One has a sensor in it the same size as a piece of Super 35mm film.  That means you get image characteristics that are extremely similar to film.  This is awesome because you get the same depth of field as you are used to with million dollar film cameras and the image quality is astounding.  The monitor that comes as an accessory for the RED One is a little 8″ LCD that outputs 720p.  At screen sizes that small you cannot tell the difference between 720p and the higher resolutions, so it gives you a damn fine example of what your footage looks like.

The guy, Steve Pruet (sp?), is such an amazing guy.  He is shooting and funding a feature out of his own pocket.  He has dropped over $250,000 on just equipment for the project and that includes two RED Ones.  He showed some of his footage last night and even on a standard definition DVD outputted to a crappy projector, the footage was absolutely gorgeous.  The amount of detail capable of a 4k image will just blow your mind.

Really, the thing that is grabbing me is that 3k Scarlet.  Once you are done getting all the accessories for it, you will be out around $7-8,000.  That is NOT at all bad.  That is a similar price to a Canon or Sony HD prosumer camera by itself and those aren’t capable of a 3k image.  The Scarlet will completely change independent film, I have no doubt of that.

I know that I threw a lot of jargon around and many of you are lost.  A 4k image is huge, but when you output your project, you are most likely going to output to a 2k master.  This means that you are throwing away a lot of pixels, but this also means that you can digitally, on a computer, zoom in and not loose and detail.  Taking a 4k image and mastering to 2k gives you so many options when it comes to editing, that you can do things on computer that wouldn’t be able to do in the field.  That is the real beauty of a large image camera like the RED, aside from the crystal clear image and the jaw-dropping depth of field.

Enough film geek for ya?