Case studies
One to Watch
Final Cut can edit, but the problem is that Better still, the camera itself is constantly
not one of them (at the time of writing) is being upgraded. Every few weeks we
Low-Budget Filmmakers
completely hassle-free. For Night School receive an update from RED that we
we elected to transcode all of the footage to download and install onto the camera,
make film,
Apple’s ProRes codec using RedCine, a free which introduces new and often surprising
software tool provided by RED. RedCine features (such as the 3K recording option).
allows the R3D files to be converted into So far, what I can say with certainty is
watch film,
any other file format installed on your that despite a few quirks and workflow
computer, and does so at the highest problems, the benefits of the camera more
possible quality. The downside is that it is than make up for the inconvenience. The
slow and so all the footage was loaded and image quality is astounding, at least as big
meet people ...
Ashvin Kumar
then left to render overnight. Unfortunately a step up from High Definition as HD is
it is also a Beta application (i.e. unfinished) from Standard Definition. It does not quite
Ashvin Kumar’s short film Little Terrorist was
and occasionally it does not quite work look like 35mm film, but this is a difference
Occar
®
-nominated in 2005 and has featured in the
correctly, in which case it can take some time in aesthetics rather than quality. RED-shot
line-up of no less than 145 festivals, 15 of which to sort out. In fact, despite the issues we footage certainly does not look out of place
garnered awards for the film. In his review of
have faced with the workflow, none have on a cinema screen, a fact made even more
Oscar
®
shorts for that year, renowned US film critic
been insurmountable, just time-consuming. remarkable given the price. Francis Ford
Roger Ebert commented that, “in 15 minutes, the
film builds genuine tension and poignant drama.”
One of the big strengths of RED ONE
™
Coppola once famously enthused about
Born in Calcutta and educated in India, the US and
though is that it is constantly evolving. By consumer camcorders, believing they would
Britain, Ashvin’s career began in the theatre, where the time you read this, most, if not all, the put creative power into the hands of ordinary dg`
d[
he both acted and directed, but he felt that a move
workflow issues should be sorted out. people and allowing genuine artistry to
into cinema would afford him a better storytelling
^h
i]Z
l
dgaY�
h
aVg
\Zh
i
cZil
RedCine is a great app that is only a few challenge the studio system. In the RED
medium. He began by editing films, before H]ddi^c\
E
Zdea
Z
VcY
transitioning into writing and directing (and even,
bugs away from being completely useable. ONE
™
that vision, at last, has the chance
in early cases, acting in his own short films).
Alongside this is the promise of a Log and to become a reality. The level of technology
^cYZeZcYZci
�abbV`
Zg
h#
Dk
Zg
(,!%%%
bZbWZg
h
^c
JH
h]Vg
Z
i^eh!
gZX
dbbZcYVi^dch
In 2002 Ashvin set up Alipur films with the mandate Capture tool direct in Final Cut Pro that will formerly only available to the few is now
i]Z
J@
VcY
i]Z
of bringing Indian films to an international audience.
import and convert your R3D files for you, available to many.
His feature film The Forest, a thriller set in the
and a forthcoming plug-in for Apple’s Colour The good news is that RED are not content
cZ
lh!
VcY
XVh
i
i]Z^g
�abh
jh^c\
i]Z
c^cZ
H]ddi^c\
Indian jungle, was released in 2006. He is currently
developing two films, The Great Indian Itch and a
application that will allow grading direct to stop here. It was named the RED ONE
™
EZdea
Z
YV^a
n
Wjaa
Zi^ch#
Dk
Zg
'%%
�abh
Vg
Z
XVh
i
VcY
feature remake of his short film, Road To Ladakh.
from the R3D files for a best-quality finish. with very good reason—they have already
Xg
Zl
ZY
ZVX]
l
ZZ`
jh^c\
i]Z
hZgk^X
Zh#
H]ddi^c\
Likewise in the pipeline is native support announced two new cameras for 2009. Top
What training have you received?
for Avid and Adobe Premiere, programs of the pile, and their new flagship camera,
E
Zdea
Z
bZbWZg
h
XVc
Xg
ZVi
Z
i]Z^g
dlc
eg
d�a
Zh!
l]^X]
I dropped out of film school after the second semester
that currently can only be used by first is the RED EPIC
™
. Smaller and lighter
of a two-year course to put the rest of the course
Vg
Z
hZVg
X]ZY
Wn
i]Z
gZh
i
d[
i]Z
fees into my first short, Road to Ladakh. Thereafter,
converting footage using RedCine. This than the RED ONE
™
, it contains a next-
will allow for similar integration to that generation 5K sensor that promises to be
bZbWZg
h]^e#
BZbWZg
h
XVc
Vahd
I
^
e
e
j
_d
]F
[
e
f
b
[
0
I pretty much taught myself, hands-on, taking Road
to Ladakh and Little Terrorist through all the steps which Final Cut Pro users currently enjoy. an improvement on the current design in
jea
dVY
i]Z^g
�abh
[dg
i]Z
l
dgaY
of production and post-production. Besides that,
every respect. Clearly they have taken
I watch a lot of films and I read and write scripts and
id
hZZ#
I]Z
h^i
Z
bV^ci
V^ch
i]Z
=
[
jo
e
k
h<
_b
c
Balancing Act: Steadicam Operator
everything they have learned from their
try to become better with each film. Post shooting, Ed Moore flying the RED ONE™
first camera and are building it into the new
J@
>cYZeZcYZci
;^ab
8Va
ZcYVg!
I always debrief to figure out what went right and what
went wrong, and try to remember it for the next time.
product, including full size connectors—
]dh
ih
adih
d[
^ci
Zgk^Z
lh
VcY
C
W
Z
[W
d
ZI
[
[
d
with any luck it will boot quicker too.
Does your budget limit what you can explore in
The best part though, and a deal that you
[g
ZZ
�abbV`^c\
gZhdjg
XZh!
VcY
your films?
will not find from any other manufacturer,
Limitations are good: they force you to think, adapt,
bZbWZg
h"dca
n
heZX^Vad[[
Zg
h#
innovate and try to do so without compromise to
is that RED ONE
™
owners can trade their
your original vision. Sometimes some great dramatic/
camera towards the new model for the
creative solutions emerge because one is forced to same price that they originally paid for it.
work within limitations. If the budget is large it’s to
That means that when RED EPIC
™

accommodate an ambitious production, so the
becomes available, we will be able to send
struggle against time and financial limitations are
the same whether on a large budget or a small one.
in our RED ONE
™
and get a $17.5K
credit towards the new camera.
What’s the best advice you’ve been given as a low- For those that do not want to spend that
budget filmmaker?
kind of money though, RED have something
d$H
EB
H%
,
Just do it.
else up their sleeves. RED SCARLET
™
is
c
e
l
_[
I
Ye
f
[
i
k
X
i
Y
h_
X
[
hi
]
[
j
'
%)
e
\\
c
[
c
X
[
hi
^
_f
\e
Zd
eaZ
#dg
\$e
gd
b
Most significant moment in your career so far?
their new “pocket professional” camera and,
It hasn’t happened yet.
as they put it, is “3K for $3K.” Over twice
Jh
jV
ae
g^X
Z�
(%
#I
di
V`
ZV
Yk
Vc
iV\
Zd
[i
]^h
d[
[Zg
!\
di
d/
ll
l#
h]
dd
i^c
the resolution of HD but at around £1500,
You’ll die happy when…
costing less than half what many of the
Y^X
ViZ
Yi
d
I’ve made that one feature film that can connect
prosumer cameras currently do, it seems
with audiences around the world, and pushes me
RED now want to win over the no-budget
I]
Z^c
iZg
cV
i^d
cV
ac
Zil
dg`
^c\
dg
\V
c^h
Vi^
dc
YZ
really far out there. When I feel that, I have really
^dc
d[
^c
YZ
eZ
cY
Zc
i�
ab
bV
`^c
\
done something special. n
film world as well. If their current strategy
i]Z
hj
ee
dgi
Vc
Ye
gdb
di
jh^
c\
H]
ddi
^c\
EZ
dea
Z
with the RED ONE
™
is any indicator, I
www.alipur.com
DkZ
g'
%%
�ab
hV
lZ
Z`
XVh
iVc
YX
gZl
je

would not bet against them succeeding. n
i^eej_d]f[efb
[$eh
]
36 By Filmmakers. For Filmmakers.
SP_moviescope_Jul08.indd 1 18/07/2008 12:44:52
Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84