Mike has endorsed the RED camera before but this time he actually gets to unwrap his very own RED cam.
There’s been quite a stir every time someone mentions the RED camera.
For one, its support for 4K video (4,096 x 2,160 pixels) made quite an impact last year when RED camera stole NAB 2006.
Another point is the price … point. The body will cost “only” 17,500. If you consider the average indie producer’s budget this seems quite high but at the same time, a good zoom lens could cost that much (and more). So considering the 4K capability, you’re getting an excellent deal.
So let’s go to the schedule part. The first batch of RED cameras (50 or so) will ship in August. From then on, it’s about 100 cameras per month. About 2000 have been pre-ordered already which means that if you order today, you’ll get yours in February 2008!
Which definitely is a long wait. Fear not, some of the guys who are buying it are OK to rent it for a week or two.
Following Michael Mann’s lead, David Fincher has decided to shoot Zodiac with a digital camera.
It seems the Viper FilmStream camera has been the camera of choice, while Sony F900 is being relegated to low-budget, horror movie status.
Another contender for being THE camera for studio filmmakers (RED camera) is still in development, so the competition is not exactly fierce.
Here’s some thoughs from the DP, Harris Savides:
The fluctuating nature of the technology means that most filmmakers still have to fight to shoot their films on HD. Directors like Steven Soderbergh and Robert Rodriguez can get away with HD because they keep their budgets down. But once budgets start rising to $100 million, or tent-pole status, the resistance is much fiercer.
And more from Savides, this time re: Fincher:
He’s amazing. I don’t think anybody could’ve done it this way. David had to figure it out on his own, and then present it to the studio. He had to do smaller projects, commercials. He’d been using the Viper, got really used to it. So by the time I stepped in he had gotten the Viper integrated and he’d figured out how to make the camera work. When I got there, 90 percent of the problems had been ironed out. I was just part of the creative solution.
If you can’t read the image, it says:
The RED Mysterium sensor has finally pushed digital acquisition past the timeless 35mm film barrier in resolution and clean color fidelity.
The endorsement is by David Stump who is not only a member of the ASC but is the chair of the Digital Camera subcommittee for the ASC.