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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : November December 2008
Griffith University TVC - Hong Kong shot on Red (CHE Brisbane) Griffith University TVC - Brisbane shot on Red (CHE Brisbane) Griffith University TVC - Barcelona shot on Red (CHE Brisbane) Griffith University TVC - Greece shot on Red (CHE Brisbane) Griffith University TVC - New York shot on Red (CHE Brisbane) @ZOOM you have to shrink them four times to go to cinema and 16 times to go to air. In short, e very in dividual frame is 50MB in siz e at 1 6BIT, whi ch me ans that a sing le still frame from the footage can be used for such varied briefs as a bi llboard or even a A3 print ad. At which point were you confident enough that the Red could equal the image quality of 35mm? We did R&D testing with the Red for over two months. There was no way I was going to walk i nto a job without knowing what to exp ect. I didn’t want to compromise any of my work because I love the nuances that film provides. I’ve won a num- ber of nation al and international cinematography awards on film and I w anted to make sure th at the trend continued. Testing and grad - ing and pushing the c amera t o i ts limit s was the only wa y to rea lly find o ut if it was really capable in the high -end world. Obv iously the hardest shot for both film an d the Red is sho oting white on whi te in bright s unlight or in hi gh contr ast scenes. Aft er all of ou r tes ting, we found out that the camera itself was actually cap tur ing eve rything we needed—it was the post aspect that was l etting us down in unlocking N OVE MB ER/DEC EMB ER 2 008 that detail. Once w e disc overed a way to get the full data depth onto screen equal to fi lm we knew we’d hit the jackpot. The best thing of all is that the image area i s exactly the same size as a super 35mm gate. So all of our high-end f ilm lenses go straight on and we get that beautiful depth of field and silkiness that I’ve been used to for the last 20 years. Film is still number one—but only by the skin of its teeth. Only a high- ly skilled colourist can se e the dif - ference—the other 22 million of us cannot. But where f ilm f ails a nd where Red really ex cels is in th e producer’s spreadsheet. On a ty pi- cal job (average $350,000) you can save close to $40,000 on the pro - duction c osts and th at saving can go into better post production, bet- ter actors, better locations, and bet- ter overall screen value. How has shooting with the Red affected your shoot days and production schedules? We can get 20 per cent more done per day - sometimes more - because the Red camera does not have to be loaded with film every four minutes and TV split playback i s r eal-time HD - even o ur 120FPS sl o-mos! The g ripping department find it easier to work with b ecause it ha s Griffith University TVC - Barcelona shot on Red (CHE Brisbane) so many ways to at tach t o th ings and your creativity ha s no bound- aries. The lighting costs ha ve been halved due to the dynamic range of the came ra—yo u don’t nee d so many powerful lights a s you once did. And what has b een a gre at benefit is on-set editing and grad - ing. The agency and client love see- ing their ad come to gether o n set while sipping their cappuccinos! If you talk to my senior producer, Keri Grant, she will tell you how it mak es he r l ife so mu ch easie r. Take , for e xample, a G riffit h University commercial we did earli- er in the y ear: five countries in 10 days. Impossible with fi lm - tot ally achievabl e with Red. We put the gear into a couple of backpacks and were completely self-sufficient. Plus no processing or telecine on the run meant that we could shoot this ad on a guerilla schedule and a guerilla budget but deliver an ad t hat looked like a blockbus ter - some - thing that I’m proud of consistently achieving for my clients. How has it affected your post production workflow? External post production of Re d footage has been a pain in my side since the day I b ought the camera. So much so that we i nstalled o ur own edit /online suite s to com bat the awkwa rd wa y th at R ed was be ing man ag ed outsid e. W e’ve developed an internal workflow so fast that we are inputting 3 hours of footage into a timeline in 2K HD and cutting it 10 seconds later. No rendering. No mucking around. No waiting. I have shared this workflow with a couple of my favourite post houses, whi ch t hey’ ve ad opted quite nicely and naturally they get our business. Grading i s a nother contentious issue bec ause the Red is so new, grading houses are trying to grab a f oot hold into the Red technology. There a re some awk- ward ways to get our data into some of these grading boxes. I’m finding that I’m d oing f inal gr ades i n Inferno and Flame more and more but I can’ t w ait until boxes like Bas el ite and others get the Red R3D codec released so then we can grade in ful l 16-BIT depth, like film. At present, we do a lot of this in house and give our data as a 10- BIT log to the colourists. Has it been difficult to convince agencies and clients to use the Red on their productions? No. But to be honest, I thought it would be. We only have to show them one pictur e or an ad that we’ve finished in Red and they’re sold. It’s easy maths for agency pro- ducers, and art directors just need to see the quality and depth that’s possible and t hey jump on board quite quickly. It’s actually getting to the s tage where most of them are telling me that they want to shoot Red and n ot film. I thought this was going to take years to accom- plish, but it’s only taken a couple of months. All of my big car clients hope never to shoo t film again. Which is a statement in itself. Don’t get me wrong, I’m not trying to spout some kind of Red propagan- da proclaiming the end of film, but you’ve got to wonder how long the current infrastructure is going to last t he way digita l photographic technology is advancing? IT’S ALL ABOUT OPTIONS and Zoom’s got them. Toia, Lambkin & Hilburger have embraced technolo- gy past and present and it shows. They’ve got an arsenal of tools and they k now how to use them and that’s got to be a great thing for the industry as a whole. CAMP AIGN B RIE F 45
Awards Dec 2008
January February 2009