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It's a Wild West Camera Shootout: Jim Jannard and RED vs. the World on June 4th

05.1.12 @ 11:43AM Tags : , , , , ,

Pay-Per-View…Or not. It seems that Mr. Jannard has a bone to pick with the people at Zacuto, and he wants the world to see in 4K. He’s unhappy with the tests (I couldn’t see the newest test at NAB thanks to technical difficulties) since the final output for all of the camera shootouts thus far has been 2K, and it levels the playing field for those cameras that can’t shoot above 1080p. With more and more theaters moving to 4K projectors, it is important to at least consider if 4K should start to be included in the near future. Unsatisfied with anyone else who does camera testing, Jim has decided to do his own camera test in 2K and 4K and is inviting other camera manufacturers to RED Studios in Hollywood on June 4th.

Update: Steve Weiss from Zacuto has responded to Jim Jannard’s comments. Check out what he said at the bottom of this post.

It looks like he’s already got all the equipment he’ll need for the test. Here’s what he’s been saying about the situation:

Each company can bring their own cameras and techs to supervise the testing. Each camera company can take their resulting footage and process the best way they know possible. Results will be posted in 2K and 4K. Results will be shown on a 10′, 20′ and 40′ screen. Comparisons will be made regarding resolution, dynamic range, color and frame rates. Footage may be captured in RAW or RGB codec. Display will be DCP.

It will be interesting to see once the tests are completed if they will be projected using RED’s own projector pictured above? Would that give an unfair advantage to RED? Possibly – so I think they would be wise to use something standard like Christie or Barco when they are showing in 4K. I have said that their projector looked fantastic, and that’s after seeing many other things at the show projected on all sorts of 4K projectors. But as usual with RED, it wasn’t completely working yet – and there’s really no timeline for when we might be seeing them in the wild.

As for Zacuto, Jim had some strong words:

Do your 1080P or 2K finish. But also do a 4K finish. 4K is the future… and the future is now. Why not test what is… not what was. Up-rez where necessary. People need to know what to expect when 4K delivery options happen (like now). Down-rez the higher resolution cameras to 4K. Look forward. Studios are preparing to re-release old movies shot on film with 4K scans. Show what an image will look like on a 60′ screen. Everyone needs to know what their original is capable of… starting with tests like these. Pick your (Zacuto chosen) team to do the post. But also give each manufacturer their own footage to get processed under their control.

The big beef that Jim seems to have is that each manufacturer isn’t choosing how their footage is handled in post. With RED, this can be a problem since their workflow is very non-standard, requiring that everything be kept as an R3D file all the way through for best results. Workflows are not getting simpler, but I think he does have a point. It would make a lot of sense to finish the footage in the workflow that best suits each camera. This is not to say that the Zacuto tests are unfair, in fact, the very opposite is true, and they’ve been run by talented ASC shooters who know a thing or two about cameras.

We’ve already discussed that 4K isn’t really here yet, only for major motion pictures. Theaters are adopting 4K at a relatively high rate, and in a few years it is not unlikely Hollywood will stop sending 35mm prints to theaters – and just stick to DCP. But the real issue here is that for many purposes, 4K just isn’t as important. Many folks, especially us indie people, would much rather have a camera that can do RAW 1080p (slightly oversampled like the Blackmagic Cinema Camera) rather than a monstrous RAW 6K file. Data rates are only climbing, but because of events in Asia, media costs have actually risen.

It will be interesting to see if any manufacturers actually take up the offer and go to RED Studios. It feels a little bit like a schoolyard fight, but there is some value to the idea that the digital cinema cameras are being handicapped by being forced down to 2K. Even if no other manufacturers show up, it seems that RED might go ahead with the test anyway since they already have a rental house on-board to provide equipment.

Wouldn’t that be as “biased” as the camera shootouts from Zacuto? Let us know what you think below.

Update: Steve Weiss has responded - these are only some of his words, but you can check out the full posts by clicking here, here, here, here, and here.

We stayed with the original R3D files until the last render which is what the DCP was made from.

I really don’t want to embarrass anyone but I did invite every manufacturer, including you and Ted, I sent the email to you several times, I can publish it on the site here if you want, although I would never do that without your permission. In it, I told you that you may pick your own team to operate your camera. I told you that you could take the footage and post processes it anyway you want, anywhere you want. I sent the email to you several times with no reply. Where art thou Jim? Further, I sent you the same letter for the 2011 shootout, as well with no response. I “begged” you for the EPIC in 2011 which you started delivering 2 weeks after the shoot, so there were obviously cameras available. I caught a lot of flack about that from your fans/users as well because the EPIC was not included.

In regards to 4K, this was his response:

My only issue is that 4K theaters are not here. Statistics prove it and at NAB I believe only Canon had 4K projection and it cost them a $250K rental for 2 projectors from what I heard. Sure I might be able to find a 4K theater to screen in LA but no way can I find one in all of the countries I’m screening in, probably not one. Again my issue is that I don’t want to misrepresent the public on what they will be seeing. In 2012 they will for the most part be watching 2K. In the history of cinema for all practical purposes there has really only been one 4K movie released. So the theaters that do have 4K are only playing 2K in them because 4K films are very scarce in 2012.

RED was contacted by Zacuto well before the test was conducted, but it seems there was no direct response at the time from Jim Jannard or Jarred Land. The RED Epic was then shot and managed by the best DP suggested by the REDUser forum, Ryan Walters. Bruce Logan, ASC, conducted the test, and these are his words on the process used for the shootout:

All raw footage from the cameras was imported into the Baselight as the only color corrector which could accept all codecs natively. The conform, color correction, online editing, titling, scaling and rendering were done in one step in P3 colorspace in native resolution. As the majority of digital cinemas in the world run 2K Jpeg 2000 DCP, we decided to make this the standard for exhibition for this years test, meaning that the HD cameras were scaled up to 2K and the 5K, 4K and 3K cameras were oversampled down to 2K. The scaling engine in the Baselight has multiple algorithms and the best setting for each format was picked for resolution, contrast, noise, and lack of compression artifacts. All cameras were then output at 16bit Tiff image sequences in xyz colorspace and converted directly to DCP.

So as with any story (especially those with RED and Jim Jannard), there is always more going on than meets the eye.

Link: Real Camera Tests – REDUser Forum & Challenge to Zacuto – REDUser Forum


We’re all here for the same reason: to better ourselves as writers, directors, cinematographers, producers, photographers... whatever our creative pursuit. Criticism is valuable as long as it is constructive, but personal attacks are grounds for deletion; you don't have to agree with us to learn something. We’re all here to help each other, so thank you for adding to the conversation!

Description image 105 COMMENTS

  • So hypothetically speaking, if someone brings in Kodak 500T film and does a 6k scan, will Jannard STFU already? Or the Alexa’s Arri-raw 3.5 output?

    This guy seriously needs to get his head out his ass. Seriously.

    • I guess he’s looking for all cameras – but those that shoot 4K (or close to 4K with 35mm film) would probably be more suited for the task since they don’t have to be upscaled.

    • Lliam Worthington on 05.1.12 @ 12:55PM

      Too many people on here simply have no idea what they are talking about unfortunately.

    • ISO 500 film doesn’t have 6K of actual resolution in the real world, so don’t bother. maybe a low ISO film over exposed 1 stop ( increases contrast a bit ) might if the lens will do the job.

      my experience with the RED ONE was that it was a pretty miserable camera to work with in production. haven’t tried an EPIC yet.

      in post you can stay all native to the end if you plan your workflow appropriately…. I know people who are doing this editing native in PP, grade in resolve, output to whatever they need. a RedRocket card helps, but CPU’s are getting there, especially if you set up playback for 1/2 res which works well.

      however, going to DPX its probably more realistic because people know how to handle it better. it also has enough bits to handle the RAW images IF no one messes up in the chain and clips / crunches anything.

    • You can do a scan of 35mm film in 12K and it’s still gonna be 4K measured resolution. 15-perf 65mm IMAX film is a different matter, that’d kill off anyone with a machine gun.

  • Good grief, that guy will whine about anything. lol
    I do agree with you though, man. It’s an interesting idea, and it does make sense to test the cameras to their max workflow AND delivery format potential as well. Although, the Zacuto tests still have their place for showing the majority of us how cameras will differ when it comes to online delivery and 2k theater. Nicely written article!

  • It’s not as biased since you are not dumb ing down any camera to fit with the others.

    Although you may not finish yet on 4K there are obvious uses for the extra resolution, from reframing to stabilizing and it’s only fair this difference in resolution can be seen on those tests, just as well as we get to see the extra dynamic range of the Alexa or the extra sensitivity of the Canon C300.

    Here’s a quick comparison I threw with Canon 550D and Epic-X footage. You tell me why this isn’t fair:

    • Luke Neumann on 05.1.12 @ 12:58PM

      Yup, a $50,000 camera should beat a $700 camera. What’s your point? Shouldn’t you be doing “tests” with cameras in that price range?

      • Zacuto compared cameras in these wildly different price ranges and since they downrezzed the Red One down, it looked much more similar to a DSLR.

        My ‘test’ compares apples to apples.

        • Luke Neumann on 05.1.12 @ 1:15PM

          Who is showing their final image in 5K? How is that relevant? Probably should do the test at 2K and then come back here with that “apples” nonsense.

          • As I stated, that extra resolution can become handy in a lot of scenarios: reframing, different angles from the same shot, stabilizing or taking printable stills from the original footage.

            I, as a guerrilla filmmaker, have used all this techniques in my films: it’s fair that this adventadge is quantified and shown in any test that wants to be representative.

          • Luke Neumann on 05.1.12 @ 1:40PM

            At Best Buy? Where at??? I’m so excited to hear where this will be taking place!

        • Luke Neumann on 05.1.12 @ 1:36PM

          When 4K is in Best Buy, then you have camera tests at 4K.

        • Luke Neumann on 05.1.12 @ 1:42PM

          Also, in your test you say the 550D has “the same” resolution as a Mark II. Come on now. Someone is preparing for their career in stand up comedy. Ha ha ha! Comparing an Epic to a 550D. Jeez man. It’s just funny to me.

          • All resolution tests with Canon DSLR’s state that the video resolution of the 5D Mark II, 60D, 7D, 550D, etc… is almost the same.

            The video resolution of the 5D Mark III is only margially better. Get your facts straight, man.

            • Joe Marine on 05.1.12 @ 1:50PM

              The Mark II is actually higher resolution in video than the cameras that share the same 18mp sensor – but you would be correct in saying that the Mark III is about the same as the Mark II.

          • Luke Neumann on 05.1.12 @ 1:55PM

            Ah. There we go. “All resolution tests state”. There is a big difference in the Mark II and the 550D. My facts are very much straight.

            You just don’t get it do you? Let me put it into an analogy for you.

            Your Epic vs. 550D comparison is as stupid as saying that flying a helicopter is faster than driving a car. REALLY? We needed a side by side comparison to show us this?? Not all of us can afford a helicopter and now that I think of it, neither my house NOR my home has a landing pad so what the hell am I supposed to do about that?? Cars will always have their uses because it’s what the majority of us still use! Every business has a parking lot while not many places have helicopter landing pads as of right now.

            Get it?

          • Álex Montoya on 05.1.12 @ 2:12PM

            As I said, resolution wise they are almost the same:


            And again, the new Zacuto test is throwing a GH2 into the mix, to compete with the Alexa and the Epic. Is that stupid as well?

          • Luke Neumann on 05.1.12 @ 2:17PM

            Nope, is they are outputting in a resolution that is the industry standard none of it is “stupid”. I will say that the GH2 stands a much better chance than the 550D though. This comes from actual use btw, not resolution tests. So again, my facts are still straight :)

          • Álex Montoya on 05.1.12 @ 2:22PM

            Ok, you admit everything you said was wrong but nonetheles you are mainly right.

            Congrats, you are a dialectics genius!

          • Luke Neumann on 05.1.12 @ 2:41PM

            The industry standard being 2K not 4K. I will watch a 550D vs Red Epic test at 2K. Or a GH2 vs. Epic or Alexa. How am I going against what I said before? Are you confused?

          • Lol, you’re so funny.

          • Luke Neumann on 05.1.12 @ 2:50PM

            Ditto, Red EPIC vs. 550D being exhibit #1.

          • We should hook up and grab some beers.


    • from this test i see that canon picture looks more natural in therms of dynamic range, which is very strange ))))))) upscale 1080p p from canon which is actually somewhere 720p is really dumb. try to do the same with hacked GH2 or alexa or canon c300. Then do not upscale it in PC, do a real projection on screen from digital cinema projector in 4k and 2k and make photos of the screen from the middle theatre. that will be real test.

  • Well, I agree with Zacuto, why would you do a 4K finish when 100% of the theaters, televisions, and most of computer monitors are still projecting in 2? In real productions, post workflows don’t change much based in a specific camera, studios have their own pipeline to deal with the footage received from the client.

    He mentions, “why not keep raw until the end?” in REAL production nowadays, almost nobody stays raw until the last minute, specially if you have to work on the footage in After Effects, Nuke or whatever, cleaning wires, de-dust, effects, etc. Working on a 4K footage ( also raw) will get your stuff stalled in most of the softwares.

    Jim, we are not there yet, sorry, maybe in 3 years? or more, nobody will be doing 4k finish or maybe Peter Jackson or Cameron? they do 1 movie every 4 years or so. You clearly afraid to compete in the 2k ballpark, your camera is great but it’s overkill for today, and when the time comes,all the others will come up with something like Red too. Sorry Jim, it takes more the one camera to change a whole industry standard. Tons of work you might not be aware.

  • Originally Posted by Jannard
    Also… if the RED footage isn’t finished R3D to the end… it doesn’t count in our eyes.


    –That is one of the dumbest things I’ve ever read on REDuser. “Social Network”, “Prometheus”, “Haywire”. “Book of Eli”, none of those films were finished R3D to the end, so do they not count as prime examples of what the RED camera can do? His whole rant is ridiculous and he should not comment about workflow processes he’s obviously not familiar with. “R3D to the end…” is just not realistic and no one is doing that. I don’t know if it’s ignorance or arrogance that spawned that comment but it’s just a fact that “R3D to the end…” doesn’t work as well for DI, VFX, etc…when compared to some of the other workflow options available. If Arri said “Arri Raw to the end…” any one who’s ever done jobs dealing with the production/ post workflow all the way to the end would probably laugh.

    • Luke Neumann on 05.1.12 @ 1:08PM

      He’s the RED Leader. He doesn’t answer to anyone over there. Can’t you play out a scenario where Jarred stepped up and said “dude, maybe you should stay out of the forums for a while…”. RED is accruing this horrible image based solely on how this guy carries himself online. What do you think peoples idea of RED would be if their Leader never went on the forums? Much better I think.

      • Luke Neumann on 05.1.12 @ 1:09PM

        I’m not talking about the forum regulars either, I’m talking about people that are on the fence with RED.

  • Agree that it is unreasonable to require R3D to the end, even if you’re going Premiere (native R3D) to DaVinci (also is), yeah- once you pull a shot into After Effects or whatever, you need to render it out of R3D. Anyone who’s made the mistake of linking an AE project to Premiere in 4K knows that.

  • Luke Neumann on 05.1.12 @ 1:03PM

    This is just ridiculous. Isn’t there anyone at RED to do damage control for their psychopath “leader”. Come on, where is an Image consultant when you need one.

  • Christy Moore on 05.1.12 @ 1:21PM

    Benny G on 05.1.12 @ 12:32PM
    Originally Posted by Jannard
    Also… if the RED footage isn’t finished R3D to the end… it doesn’t count in our eyes.


    That is actually pretty funny. I’ll remember R3D to end the next time a client that shot on RED comes into my DI suite. Do you know what Jim Jannard and George Bush have in common? They both make no sense when they speak.

  • john jeffreys on 05.1.12 @ 1:24PM

    Jannard is like the troll leader of the RED troll army. 4k workflows are retarded for today’s computers and editing stations, unless you are James Cameron its really hard to edit and grade and finish everything in 4k on and indie infrastructure AND have it screened at that res too, because most theaters dont have projectors that handle it anyway

    its way ahead of its time

  • I’ve been banned from the Red forum for (I guess) posting about the fact that my one experience with a Red One resulted in a few lost files, overheating and a few other well know “bugs”. And Philip Bloom was asked to return his Epic after saying on his blog that it wasn’t very reliable. That whole attitude has turned me off of the whole “Red revolution”. Jannard can name 10 or 20 movies “shot on Red” in the past year, but what about the hundreds shot on Alexa ? Say that on his forum and get banned !

  • If 2k and 1k are such crap why did he put them on the Scarlet?

    The demeaning attitude of the RED forum is directly proportional to Jannard’s personality, he is their leader. I wonder how much this attitude permeates the industry? The first thing I think of when I work with someone with a RED is ‘do they have this same superiority complex, will they be flexible and how will I adjust?’ I’ve found the success of any shoot depends on my ability to manage personalities not technologies.

  • Oy ve. I imagine that Jim Jannard likens himself to a Steve Jobs, and while in practice there may be distinct similarities insofar as creating a platform well ahead of it’s time, making a superior product, etc etc, the major difference is that Steve Jobs had a steel poker face. Steve Jobs knew in the end shit would shake out and he’d be on top. It’s savvy business to let your products speak for themselves and not overshadow your own work with your ego. Moreover, on a personal level, it’s just being an adult and not some raving child.

    Ultimately JJ is looking for exactly one thing, to be told he’s the bestest thing ever since sliced bread and fried bacon. This much is clear because no one doubts that RED makes a fantastic product. No one is actually dogging his products on a professional level. And certainly plenty of people know and BUY the RED products so he’s not even hurting for cashflow or to be noticed. So in the end this is just some brat CEO incapable of being told by a group of people who actually use his equipment, that it might need some work or even be great at some things and need improving in others. Where I’m from that’s just called being an asshole. And frankly if you’re going to make it your personality at the forefront of your brand, don’t be surprised when you turn off prospective buyers as a result.

    • Luke Neumann on 05.1.12 @ 2:05PM


    • I should add that JJ’s mentality definitely trickles down. I remember watching video interviews of Ted from Red during NAB2011 and thinking to myself, “This guy has a real chip on his shoulder, and boy is he incredibly insulting, smug, and not at all who I would want representing my brand.” There were a number of times when he was downright rude to the interviewing people because they apparently had the gall to film him with a DSLR and not shoot his little sales pitch in 6K RAW. Sadly, as time has progressed it’s increasing clear that it’s a pervasive bad attitude problem throughout RED’s management and marketing department.

    • I’m planing to buy a RED Scarlet in a near future for the camera it is, but I just can’t stand checking on their forums, at first I thought: Ohh that’s cool! we can actually get closer to the company’s big heads and stuff, but after one month following I was disgusted, for me it just looks like a nonsense community where the boss sneezes and has 50 guys to clean up his snot where any outsider who comes with intriguing comments gets banned.

      JJ is incredibly frustrated that the whole industry didn’t buy the 4K yet, so he keeps writing at almost every post “4K is now” and then 60 fanboys right behind his a** say something like :”Yes, you great” , “we love you”, “I can’t wait”, “red rocks”, it’s just not a intelligent reading for me, I’d rather come here.

      • Luke Neumann on 05.1.12 @ 3:50PM

        Totally man, if you’re too close to something you can’t see the truth as it is.

        I don’t have ties with Canon, Sony, or RED…at all! I have to make an unbiased decision when I fork over money on a new piece of gear and 4K is not now. It’s the future, but it is not the present. I won’t spend an extra $10,000 for something I can’t use now. I will spend $3,000 now and then get 4K when it’s the standard (at which point it will be available in cheaper cameras!)

      • The problem is Marcus if you are going to be a RED owner you need to be connected to the community to keep current on firmware updates and any ‘issues’. RED technology is on the bleeding edge and with that comes problems. The forum is useful for trouble shooting those problems with workarounds. Look into black shading, fan noise and LCD cables for example.

  • Luke Neumann on 05.1.12 @ 2:16PM

    Here’s my beef with RED. When there was the rumor about 3K for $3K they had all of our attention. Then they delayed an announcement. Then delayed an announcement to make an announcement. Then they said “everything is subject to change” and made a $50K camera for Hollywood. So all of us bought what we could, 5D’s and 7D’s. We were ready to buy RED and you shat all over us and catered to Hollywood! Then to top it off they poo poo on us for using 1080p DSLR’s!

    News flash morons, you did this to yourself. You could have had the Hollywood market and the Indie market but you chose to be an asshole about it.

  • Andrew Swan on 05.1.12 @ 2:17PM

    I’m not sure if any camera test can really tell you everything you need to know about a camera, but filmmakers need some info to help them choose what camera would be best for what subject/shooting style/etc. The best way to learn would be to go shoot actual projects on each of the cameras and take them all the way through to release, but most of us don’t have the resources to do that.

    It’s been said before, but the camera is only one tool among many in the shooting process. I just shot a black & white short on a T3i, and I’m perfectly happy with the results… for YouTube. If I knew that I would be going to a 4k DCP with the short, I would have wanted different equipment on just about every level to get a look I would be satisfied with; not just the camera. Others would have different opinions. Camera tests help people form opinions. The trick is to look at them as informed opinions, not to take them as be-all, end-all representations of the cameras.

  • Does anybody know when the new Zacuto camera shootout will be posted online?

    • Joe Marine on 05.1.12 @ 2:46PM

      It looks like it will be released June 15th, but the actually shootout is less important to their documentary that’s being released online – I guess they really wanted to focus on the process that they used to get to the final product.

  • Though I do not share Jannard’s manners I can understand why he is angry.

    What Zacuto is doing, probably meaning well, is basically ignoring Red’s more distinguishable feature (along with accessible RAW) and competitive edge until Sony, Canon, etc… catch up.

    If you think about it, it is a bit unfair.

    • Luke Neumann on 05.1.12 @ 3:00PM

      It’s actually not relevant at all. Even if they did the Zacuto test in 4K would it matter? Wouldn’t 99% of us still watch on a 1080p screen?

      • Please, stop following me. I know I’m atractive but that’s ridiculous.

        • Joe Marine on 05.1.12 @ 3:22PM

          OK, I think that’s enough. This isn’t a place for personal insults, let’s get back to the topic at hand, as this whole situation is much more interesting than two people bickering.

          • Luke Neumann on 05.1.12 @ 3:32PM

            I agree, I thought I made a very valid point. I just don’t see RED’s side of the coin at all. I love that they have access to a 4K projector and can view this stuff at 4K. The rest of the world will watch in 1080p. It’s just a fact. When 4K monitors/TV’s are here then I will pay extra for 4K and not a moment sooner.

  • RE “While I don’t think he’ll ever get a response from the company writing something in his own forum, it’s nonetheless important to consider if 4K should start to be included in the near future. ”

    Actually: Steve Weiss from Zacuto has been active on RedUser (and has already responded to Jim Jannard). Also, before they did the tests, he posted on RedUser asking for advice. He also asked RED if they wanted to select their own people to do the shoot and the post.

    One of the criteria of the test is that they want to show the footage at worldwide venues. Surprise surprise… it turned out to be really hard to find 4K projection worldwide.

    I think that if RED wanted to help Zacuto with the 4K projection issue, they could have offered to do that… SIX MONTHS AGO when the test was being planned. Not throw a tantrum and time the announcement of some rival test in order to deliberately step on Zacuto. That’s bloody rude.

  • Here is Steve’s well written response. Also, at NAB they didn’t have technical difficulties, they delayed showing the film – at their own expense – so as to make sure the film was fair and completed properly. Seems to me Zacuto is fair, just and producing a proper documentary and informative film. Kudos to them!

    • Joe Marine on 05.1.12 @ 3:52PM

      Yes it wasn’t clear during NAB what the issue was, but Steve has now said it had to do with some part of the workflow hurting image quality – and it was Bruce Logan that decided it should not be shown, since he actually ran the test.

      I’ve updated the post with all of Steve’s responses, as I think it’s important to share his side of things.

  • Who gives a damn about which cams are the best? There aint no perfect cam in the world, all cams have strength and weakness, its all tools for the whole time, you just gotta pick the right cam for your job and tell a story.

  • Jim Jannard is a a**hole. The red cameras are great…But my 5dm2 is the best….LOL

  • Direct quote from

    ” Steve Weiss
    Director, film and video
    Co-Designer, Zacuto USA ” :

    ” Thou are here Jim.

    I’m not sure what you are asking of me? I really don’t want to embarrass anyone but I did invite every manufacturer, including you and Ted, I sent the email to you several times, I can publish it on the site here if you want, although I would never do that without your permission. In it, I told you that you may pick your own team to operate your camera. I told you that you could take the footage and post processes it anyway you want, anywhere you want. I sent the email to you several times with no reply. Where art thou Jim? Further, I sent you the same letter for the 2011 shootout, as well with no response. I “begged” you for the EPIC in 2011 which you started delivering 2 weeks after the shoot, so there were obviously cameras available. I caught a lot of flack about that from your fans/users as well because the EPIC was not included.

    Frankly, I make documentaries, not propaganda films. For those that don’t understand the difference, I as the filmmaker have no idea what the outcome of my film is till it’s finished (unlike a Michael Moore film, where the end is determined first and the shoot is just there to prove its case). Wow, your fans/users are very beholden to you, it’s almost like they would join the EPIC military and fight to the death for its honor, that’s cool, no other camera company has that kind of support. That’s impressive that people think so much of you and your cameras but my film was not created for RED’s benefit and no other camera or community is having a conversation like this. As I’ve stated, you have created a wonderful camera, congratulations but to me and many of the DP’s in my film and guest DP’s interviewed, it’s just a tool like lights and tripods. It all has to work together. I rely on my crew, much more then my gear. If I had your amazing camera and put it on a lousy tripod and all of my pans and tilts sucked, to me it wouldn’t matter, the overall film would suck.

    Spoiler alert, these are the kinds of comments you will hear in my film: I asked 9 ASC cinematographers, if they had to pick between shitty picture or shitty sound what would they recommend to the director if in the situation you could only have one? Every single cinematographer said shitty picture. There reason: You can tolerate shitty picture but shitty sound is intolerable. I asked a cinematographer if he would be willing to live with a take where the actor didn’t hit his mark and isn’t in their eye light but the performance was better then when they hit their mark and his answer was an astounding yes. This is what DP’s in a collaborate effort do and I felt it was important for people to hear this as well as well as see what camera are capable of. My film is not just about cameras, I keep telling everyone that, it’s about both and I felt that a lot of young filmmakers, directors, cinematographers and operators will love the opportunity to hear from people like this. Much like we have done with all of our other shows. To educate and entertain. Remember, I am also a filmmaker and this is my artistic expression. If all you want to see is a raw test, they are out there, although, I’m not sure how fair and accurate they are. My film is the hows and whys of how to make your camera look great, plus a lot more. Actually, to be honest, I’m not totally sure what my film is yet because I haven’t even really started it prior to getting the comments from the screenings.

    Jim, everything you asked for I did. I invited the manufacturers to participate. Canon was there, although they did not interfere with what Polly Morgan did on the C300. Sony was there, only to operate their F65 since it was only 2 weeks old. They did not help with the F3 or FS100. Panasonic recommended the shooters for their GH2 and we used them. Alexa, Nikon and RED chose not to directly participate. Every aspect of this test is conducted by Bruce Logan ASC and I’ve never met anyone with as much digital knowledge as him. So much so, that he didn’t feel that the work flow was exactly right when he viewed the show at NAB and decided that he would not allow the 15 sold out screenings at NAB to happen. I commend him for that and gave him carte blance to do that even know I had over 150 people show up at my booth to see the show and it caused me some embarrassment and lots of money. I don’t care, we wanted it right. Bruce is currently redoing the presentation to make sure it is right and fair. Over 100 people were on set during the shootout including Gary Adcock and other digital specialists to make sure we did not make any mistakes and did everything fairly.

    The only issue you seem to take with my process that I have done, is the issue of a 4K projection and I’ve told you why it’s not appropriate. This test is not here to prove that your camera looks the best in an environment that only you and your pals can really see in 2012. Again that would be propaganda and I’m making a documentary about truth in 2012. Every one knows that in 2012 4K is not here, most of the people releasing projects with your camera are releasing in 2K. I respect you, I would love to finally personally meet you, I admire you and I agree with you on all but one issue. Let’s just agree to disagree on that one issue.

    Best regards, Steve Weiss “

  • Perry Wilson on 05.1.12 @ 3:54PM

    Jim is being a major douche, he thinks he is helping the fact and defending his product, but it just shows how scared he really is… its not the size of the line catching the fish, its the size of the fish that counts… pick a camera, learn it, love it, shoot it… I shoot hacked GH2 over the 10-20 cameras I now know how to shoot on for 1 reason… ease of use, size, picture quality… and shear amazement of its ability, and I would put my hacked 600$ consumer camera shot work against any amount of RED/ALEXA big money cam projects and hold my head high… and I have, and won… my Festival showcase in which my film (shot on GH2) was in had 20 films, many of which had big budgets, and RED camera systems… and we took home the awards… learn your storytelling

    • I was just going to say something similar. What’s in front of the camera is what matters. This has been at the forefront of my thoughts these last few days since I watched “The Raid: Redemption” at the local multiplex cinema last weekend. It’s a kick ass action movie that went to wide theatrical release and is being very well regarded as a great example of the genre. Which camera was it shot on? RED? Alexa? 35mm? Umm, 16mm? No, it was shot on a Panasonic AF100, an approximately $4000, Micro Four Thirds, 1080P camera. And I saw no problem with the picture. I did not realize which camera it was shot on at the time I watched it, and I didn’t care, because I was so into the movie.

    • >> pick a camera, learn it, love it, shoot it…

  • Ridley Scott is finishing Prometheus in 2k. 2k is going to look great projected at 4k in the year 2016 when 4k rules the planet

  • Luke Neumann on 05.1.12 @ 4:08PM

    If you find this whole thing comical, please check it this video I made with Dave Dugdale. I owe you if you don’t chuckle at least once.

  • Fredereich Lin on 05.1.12 @ 4:55PM

    I lost a lot of respect for RED and Jim Jannard when I saw how the Philip Bloom incident was handled but after reading Jim Jannard’s nonsensical temper tantrum of a rant on reduser this morning I lost the small bit of remaining respect I had for him and his company. I’m as excited as the next person to see “Prometheus” but Red’s better than you attitude is very off putting.

    • Stop sucking Phil’s beautiful duck. I know he’s so attractive, but you’re making fool out of yourself.

      • Luke Neumann on 05.2.12 @ 2:03PM

        Sexually aggressive comments on a camera website. Yeah, your priorities are straight. Karma has some things coming your way. Good luck!

  • So, when are the new Zacuto shootout results going to be made public?

  • shaun wilson on 05.1.12 @ 7:35PM

    All of these comments are are well and good but, in the end, who looks at screens in cinemas? Audiences. Why? Because they go there to be entertained by content and stories. RED and everyone else needs to understand that we are not a pixel arms race; we are here to tell stories through the moving image – the cameras, and colour spaces, and software, and technology are not important, the stories are. Get a reality check. But… also deal with the fact that 4K is an emerging standard and its going to happen despite the complaining and bemoaning of 1080 advocates who proclaim otherwise. Do you think we can, at some point, accept new ways and just get back to the concept of telling stories because they are far more interesting than camera specs (and I bet you cinema goers might just agree with me!).

    • Yes, exactly! I just posted a reply to another similar comment above using The Raid: Redemption as the example. Great action movie, wide nationwide theatrical release, great reviews, shot on Panasonic AF100. We have reached the point where the camera almost doesn’t matter anymore, at least in terms of classic narrative filmmaking.

    • Nobody is claiming cameras matter more than contents. That’s something we all know without intervention from Mr. Obvious.
      On the other hand, let’s face it, cameras do matter. It’s not like we’re dealing with novels or storybooks. In the end, it’s the camera that renders the storyline and it’s your eyes taking you to that world. That’s called cinematic experience.

      What I find funny and amusing is that you’re telling camera manufactures the importance of “stories.” Do you also tell Adobe and Apple about importance of “stories” when they bring out new NLE?

      “RED and everyone else” do understand they are camera manufactures, not screen writers. Screen writing is not their job and it might as well be not my job. Movie making is collaborated work of talented individuals and manufactures. If someone is a cameraman, his job is to understand about cameras rather than “stories,” so this stuff matters. That’s something you need to understand.

      You see, I’m not saying screen writing is less important than cameras or anything like that. What I’m saying is that you’re barking at the wrong tree and it’s just ridiculous.

      • It is not the camera that takes you to another world. It is the story first (Ever heard of novels? They sell in tens of millions, and are often very popular before being made into movies like LOTR, The Hobbit & Harry Potter) then the audio… in fact I am one of many people who primarily LISTEN to movies and TV shows. We only glance at the screen occasionally… and I have a history in Animation & VFX (I TURNED DOWN a position at Weta Digital back in the 90′s… long story).

        After a lot of experience, I know that visuals are important, but not as important as many of the things I learned when I was very young… audio, music, writing and even lighting. With emphasis on the writing…. without a great story, you have NOTHING… normal people do not go to the movies for pretty pics… they are there for a story to entertain them. Few people can create a great story though. It is a rare talent. Techno nerds on RED forums though are a dime a dozen.

        • Let me state it again since you got me wrong.

          The importance of story is something we all know. However, keep it mind not everybody is a story maker and that’s why we have different set of people working on a movie. You don’t tell a great camera man that it’s the story matters so he should focus on it instead of worrying about a right gear. Same goes for all the people that works in a film.

          If this thread was about ‘hey, movies are all about cameras. Forget about the story.” His pointing out the importance of the story makes sense. But, it’s not that case. That’s why I told him that he’s barking at the wrong tree.

          Also, a great director or a story maker may care as much about a camera along with ‘the story.’ Look at S. Kubrick. He was crazy about the story while being equally mad about finding the right camera and lenses to the point he made a custom(modified) camera using lenses made for NASA.

          How about Ansel Adams. Throughout his works, he was the story teller of Yosemite Park and nature. His pictures told a story but that doesn’t mean he didn’t care about his gear. He carefully picked the best camera – a bulky large format camera that must been a huge burden since he had to travel up, down and across the park. He chose that camera since he knew he needed such tool that best deliver what he was trying to say. He took it even further and became a lab technician thus developing zone system.

        • You make me laugh!

          Go watch some big movie like ‘The Avengers’

          Imagine if that was made only using webcams. Yup, $40 webcams.

          That’s the point. It’s not helping to TELL the story, its DELIVERING it.

          Going by your logic, we could use on board camera sound because the specs of the microphone don’t really matter and don’t help the story.

      • shaun wilson on 05.2.12 @ 1:14AM

        You just proved my point.

        • what tom is saying and I agree, is that yes content is king but that doesnt mean we cant have conversations about cameras/gear, and that tests shouldnt be done for people to understand camera systems or research which suites their project best. Yes we all know without writing then no matter how nice the images its still shit. We know that. But this blog covers a lot of gear and thus it should be discussed.
          It would be stupid to have all these posts about gear and the comment section be filled with: it doesnt matter what X or Y camera system does because content is king blah blah, we all know that. If you want to discuss those kinds of things do it on posts about a shortfilm or screenwriting tips or on another blog but not on a post about camera systems or tests. This website covers lots of aspects of filmmaking and the posts about technology should have discussions about technology.
          I hope you understand what I mean, I agree with you but im just saying we all know that and idk if this is the right place to have that discussion.

          • All of you guys have valid points. I think we all agree that content is king. But I think some readers have become weary of endless debates that are splitting hairs. I’ve been a DP for over 30 years. Of course I care about cameras and lenses. And I’ve participated in some of these discussions about pros and cons of various cameras. Choosing the right camera for a project is an important decision. But I can say that it is much lower on my priority list when preparing for a film. And I think that many of my professional colleagues with many years of experience would agree. I’m much more concerned with understanding the nuances of the story and discovering the director’s vision and how to interpret that visually. I consider storytelling the major part of my job – even though the director is ultimately responsible. I want to know if I can work with my favorite crew members. Collaborative artists and crafts people are much more important than equipment. I want to be involved in the location scouting. The nature and choice of the locations affects the photography more than a specific camera. I want to have a reasonable number and diversity of lighting and grip equipment. I could go on. My point is that I will gladly compromise my choice of camera if it means affording other elements that I think are more important. There is nothing wrong with debating the merits of one camera over another as long as the specific requirements of a project are considered as part of the equation. However, I think that many readers of this site (based on blog comment numbers) have become too obsessed with cameras and pixel peeping to be effective filmmakers. It’s all a matter of prioritizing your time and energy. It takes lots of time and practice using any camera to become proficient with the craft of filmmaking and even more attention to internal self knowledge to transcend into artistry. Does anyone imagine that the great impressionist painters argued daily about camel hair brushes or what brand of paint pigment they were using? They argued about painting outside vs. the studio, about light, color, etc. Artistic matters. Debate is fine as long as it leads to growth. Otherwise it’s just self indulgence.

  • Down-rez the higher resolution cameras to 4K – madness) optical scale in projector and digital scale 2k to 4k pixels are different things. It is not correct to do so. Digital cinema initiatives have pretty good 2k and 4k standards for projectors so everybody will be happy. I understand those 4k guys they need to sell more cameras and $950 ssd drives or $2,500 lcds in the future and the future is now :) :) :) stop wash our brains, there are tons of people who don’t like movies that looks like video games.
    BTW and the future can not be now, because now is only now, and the future always in future because it is future.

  • Isnt there a case that although 4K might not be relevant in terms of screening now, someday it will. And whether or not you capture your film in 4K will matter then. A camera test today (although I admittedly dont know what Zacutos outline or scope is) should in my opinion take in the considerations of the future. If a resolution test is coming into play, surely part of that, for anyone whose interested in the results, would be, how will my film look in 10 years time if I shoot 2K or 4K. These test in my opinion have nothing to do with story. I think hard facts like dynamic range, resolution, noise are really what these tests are great for uncovering. There is also how the image looks and how the colours are resolved. Possibly 4K has been left for next years zacuto test, but maybe by then we’ll already have the results from Jim himself.

  • Great post Joe… These RED guys are just getting laughable.

    • Thanks – I think Steve did a fantastic job responding to Jim’s rant with plenty of class (even though he received none in return).

  • The first thing I would say to Jim Jannard is QUIT MAKING SUCH A F$%CKING BUGGY CAMERA. Canon dslr, Canon C300, and Alexa combine don’t have as many problems as the RED camera line does. Make a better product than you can talk about resolution until then shut up.

    Jim Jannard and red is becoming annoying to me… I own a red scarlet and have worked with red ones and epics. Its more of headache than anything. Screens freezes up or it takes a 1.5 minutes for the red one to boot up. I am getting sick of him saying it all about 4k and up. Its really not. Because shooting at that resolution doesn’t make your film, commercial, music video, etc any better except resolution. What makes it good is the people who are using the equipment. Well trained people! I am selling my scarlet and going back to film… FILM IS WHERE ITS AT.

  • just for test: classic Kodak test image in 2K and 4K. in this image i combine 2k and 4k areas. Did you see where one ends and another begins? Funny isn’t it?

    • It’s hard to see the difference because the screens used to view it aren’t capable of displaying such an image due to size.