tag:blogger.com,1999:blog-2340744993767473845.post1047009053398997495..comments2020-11-30T06:56:14.473-06:00Comments on LuckyStudio 13 - HD Cine Production Studio.: Red One Camera a prespective from Wired MagazineJohn Weehttp://www.blogger.com/profile/10956205209097316462noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-2340744993767473845.post-56505141223251723942008-08-26T14:20:00.000-05:002008-08-26T14:20:00.000-05:00Here is why Red will fail "There's talent on the s...Here is why Red will fail <BR/><BR/>"There's talent on the streets, kids with ideas who have stories to tell and never get a chance," Jannard says. "Up to now, they've been limited to tools that confine their stories to YouTube." Access to this kind of tech will make it easier for aspiring auteurs to break in and could ultimately expand the range and variety of films that get made.<BR/><BR/>Bull$h!t. The tools already exist. Talent will always prevail, not tools. Red does not provide talent. And their camera system is too unreliable.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-2340744993767473845.post-59188589446607587192008-08-24T13:30:00.000-05:002008-08-24T13:30:00.000-05:00The Red's biggest problem is the same problem with...The Red's biggest problem is the same problem with all digital capture, and until this is addressed many sober moviemakers will continue to shoot film.<BR/><BR/>"Put film in a can and stick it on a shelf, and it costs $1,000 a year to store..." "With a project that starts as data, you have it on a hard drive, which has to be nursed and upgraded. It's an electronic, mechanical device that can't be left unplugged." Preserving a 4K digital master of a feature film would cost $12,000 a year, according to a report by the Academy of Motion Picture Arts and Sciences."<BR/><BR/>That's $12K per year that independent moviemakers can't afford. (And that estimate is low by many counts). <BR/><BR/>Then there's the migration problem. Technological standards change over time and forward migration must be done. But it's a short-term solution because with the ever-changing nature of computer technologies, migration never ends.<BR/><BR/>Also, the new platform may not be able to capture the full integrity of the original film. In addition to obsolescence, the cost of continually replacing the older technologies is completely out of reach of real independent moviemakers.<BR/><BR/>Until Mr. Jannard and his colleagues address these issues, many thoughtful moviemakers will continue to opt for analog.mountaindog88https://www.blogger.com/profile/18115248355619297357noreply@blogger.com