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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : November December 2008
T VC PRODU CT IO N Toia shooting Red in New York Holden Colorado TVC shot on Red (McCann Erickson Melbourne) Instant playback: Toia shooting Red in Spain QLD Reds TVC (Mint) - shot on Red Toia shooting Red in Greece Red camera on Libra V - New Zealand for Mazda 6 TVC (CHE Melbourne) Mazda6 TVC - shot on Red (CHE Melbourne) TOIA SEESRED After 20 years of shooting beautiful images on 35mm film, Mark Toia from Zoom Film & Television is seeing Red - clearly. He is truly passionate about film, but he’s also pretty excited about the new Red One camera’s ability to deliver a product equally as impressive as 35mm. He’s not afraid of putting his money where is mouth is either. Having invested over $300,000 on the latest Red systems, film lenses, and latest editing and online technology, Zoom is seriously set up. 44 CAMP AI GN B RIEF 35MM FILM IS A BEAUTIFUL THING. So beaut iful , in fact, th at cin e- matographers the worl d over ha ve been bas king in its glor y for decade s. It h as a n ov erpowering appeal to those who aspire to shoot- ing beautifully crafted images an d cr ave its del icate con tr ast an d nuances. Some would argue that i t’s s ur- prising then how qu ickly som e in the industry have jumped ship and embr ace d the Red One c amera. Others would argue it’s no surprise at all. With the rapidly c hangi ng television environment and current eco nomic pressures , pr oduction companies have to kee p up wit h technological advancements o r ge t left behind. So does the Red One camera real- ly offer cinematog rapher s a tr ue replacement for film? Mark Toia, director, cinematogra- pher, and founder of Zoom Film & Television is truly passionate about film, b ut he’s also p retty ex cited about the Red’s ability to deliver a product equally as impr essive as 35mm. Toia is well respe cted and his amassing natio nal and interna- tional c inematography gongs prove tha t he knows e xac tly what he’s talking about. He ’s not a fr aid of put tin g his money where i s mouth i s eit her. Having invested over $300,000 on the latest Red systems, film len ses, and l atest editing an d online te ch- nology, Zoom is s eriously s et up . It’s not a case of out with the old and in with the new by any means . It’s all about offering great top shelf options for agencies and cli ents regardless of whether they choos e to shoot film or Red. The passion for the Re d came ra doe sn’t s top at T oia. Zoom Directors and all-round fi lm nuts Gerard Lambk in and Mike Hilburge r b oth p raise t he Red. When they look through the l ens they are supremely c onf ident the image s they are s hooting are top quality. Still, even the best camera needs a talented filmmaker to pro - duce g reat work. Such directorial tal ent as Toi a, Lam bkin , an d Hilburger, combined with the Red’s production quality and th e Zoom ethos of pushing the bo undaries and sweeping limi tat ions as ide, makes for one hell of a re cipe for success. This is the Toia/Zoom confidence and everybody loves it. But don’t be mistaken, this is not a confidence bor ne of ego. It’s a confidence spawn ed by a p roven ability to deliver an end product that far sur - passes the agency’s expec tations and further more the client’s - every single time. The stable of directors at Zoom aren’t a fraid of change but they’re also masters of their craft. They know that you have to think smart in this rapidly changing television lands cape . Great craftsmen need great tools and they recognise that if you embrace and master n ew technology, you’ve got the freedom to be creative and produc e out - standing, uncompromised work. What makes the Red any different from any other digital format? There are several other cameras doing what the Red Camera does – some be tt er than othe rs . What everyone needs to know is that Red is not a video camera. It’s actually a 4K data capture camera – pretty much the same as a film camera. Instead of capturing on film, it cap- tures the same amount of data onto a hard drive. Digital photography has obvi ously b een ar ound for years. Red has jus t found a way to turn a high-end digital stills camera into a hi gh-e nd motion pictur e camera. Red shoots images that are so cl ear an d con tain so much colour depth it’s astound ing. It shoots images that are so big that NOV E MB ER/DE CE MB E R 2 0 08
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