Happy May! We’re happy to say that our first Red Short is up. It was shot in 4k and delivered to the web in 2k (or 1080p HD)
A short test done with mostly available or minimal lighting. We wanted to play with a genre we have never played with before, an espionage film.
So we put our own tongue in cheek spin on it.
with Mathilde Leclere
by Sam Gordon and Ambarish Manepalli
Music by Rocket Ace
Behind the Scenes of Scarlet
Sam and I paired up with the talented, Mathilde Leclère. We planned our shoot to be contained in the 18th arrondissement, for time purposes. Beforehand we brainstormed and thought up a quick storyline and we structured our shoot so that we could pick up shots on the fly, we like to improvise, what can I say?
Our Red Scarlet was out for its first major outing and she performed flawlessly. Mathilde also performed flawlessly but there never is any doubt about that.
Here’s Sam looking appropriately badass and Mathilde getting into character.
For those Red-fans out there this was our first time using the Red Mote on the shoot. We had a Small HD DP4 hooked up for this handheld mode and it worked flawlessly. We figured having two screens attached to our Scarlet in Stealth mode.
Stealth mode is how our camera is rigged normally. All the silvery, oh-so-shiny RED markings are blacked out with gaff tape. We do this because while RED should be proud of their creation, it just helps us go unnoticed.
I mean look at Sam there, you barely notice he has a camera growing out of his right shoulder, right?
But surprisingly, besides a couple of kids and their football (soccer ball to us americans) no one said a word. The Red is small and lithe, but it packs a 4k punch.
Back to the REDMote. Once we figured out how to turn off the rather loud BEEP (which Sam made short work of) we could remotely start and stop record and change aperture on our EF mount Lenses. We were kids in a candy shop. Remote control camera! We also used our top secret shoulder mount that was extremely comfortable with the Scarlet even after hours of wandering around with it.
For those Glass nerds :
From our sizable stockpile of lenses we made use of
the Tokina 11-16mm
Canon 70-200 f2.8 ii IS (so pretty)
Canon 24-70 f2.8 L (also lovely)
Rokinon/Samyang 35mm f1.4 manual focus, aperture.
Rokinon/Samyang 85mm f1.4 manual focus, aperture.
These last two lenses are just as solid as Canon and they even compare favorably to the Zeiss ZF.2 lenses.
Matt Duclos, famed lens modifier and technician and guru has a fantastic test HERE. In the article you’ll notice that it’s also called a Bower. These are all the same lens, manufactured by Samyang out of Korea! He says that the sharpness and resolution fares favorably to the more expensive Zeiss glass. We tend to agree. They’re a steal and built like a tank.
A short Behind The Scenes Video Clip below.
Here’s Sam filming (admirably) with my
Canon 50mm f1.4
That bad boy is NOT easy to focus so kudos to Mr. Gordon. This is the last shot of the film
That’s my loony, smiling face loving every minute of it. I promise the next behind the scenes will be all Sam!
So that wraps up this quick look at the making of Scarlet. And for those of you who are wondering her name is Ken. Ask Sam about that one.
Coming Soon! A detailed workflow post, about how we ingested and worked with the footage in Premiere Pro CS5.5 in 4k !
It’ll go into the ease and joys of working in a raw codec, and what that exactly means.
If you can’t wait, here’s a video of Sam and I talking about the Red System and the meanings of RAW for the filmmaker.
We talk about Raw at around the 8 minute mark to explain what that means for a filmmaker. This was from our Red Workflow Workshop which we gave on April 20, 2012. In which we shot on the Scarlet and edited in real time to produce this rather dramatic little scene.