Ouch! I don't think it was really horrendous acting, I think she was just miscast in the role.
I have the utmost adoration for both of these directors and I am sure they influenced each other a bit. However, this comparison video is so off. Way too much of a stretch. The shots are not similar at all. Some of these comparison videos are good like the one on Inarritu and Tarkovski, which was mind-blowing. This one doesn't work. Both of them had incredible photography compositions and careful camera movement. Perhaps more similar shots could have been chosen for the argument.
I am not sure how modified the RED weapon inside is. However, what I can tell you is that the Light Iron Color, is from what I understand similar to RED COLOR 3 or what not. It's the colorspace that is applied to the raw that makes the difference and that's why this is totally different from the standard RED weapon. I'm sure if you could apply the Light Iron color to your RED weapon 8K, it would do something similar. The color science is why this is no ordinary RED weapon. Trust me, after seeing the footage, I can tell you it's for all intensive purposes, a totally different camera and a new ball game. As the weather I would choose to shoot it over an ALEXA...Probably not, but it is now a camera I could like and would certainly consider for large format in a test against the ALEXA 65.
Here are my thoughts: I saw the camera and a screening of the footage today at Panavision's booth. Here's the deal. It's GOOD. Far better than I expected. It's not a RED in wolf's clothing like many of us believed. The ergonomic arguments are pretty self explanatory and good but the real difference is that the Ian Vertovec and Light Iron team have really overhauled the color science of the red down to the sensor level and it's a whole different ball game. The screening today was on a Christie 4k on a screen about 10-12 feet across. Do I still think the ARRI color science is most film-like and best in the business, absolutely. However, this is some of the best digital footage of any camera I've ever seen. Blows the F65 right out of the water. What they have done, and I think it's no small feat, is to have color saturation happen at a lower density then most digital cameras. This is actually what the ALEXA has always done and it is more like what film captures. This means that saturated colors don't look bright when they are saturated. Second, they have managed excellent color separation, even in the blacks. This is partially achieved because they are getting so much usable resolution from the larger sensor size. One of the scenes they showed in the demo reel was of a speakeasy bar scene with intentionally mixed light of daylight and tungsten cross lighting and the camera handeled it very well where a standard RED camera would have just fallen apart with magenta in the low skin tones and that weird greenish yellow thing that REDs do around tungsten. The other half of it is that the dynamic range may actually be 15 stops, because they are resolving so much even in the shadows. Finally, the color curve the camera produces is much more smooth then a standard RED. I'm not going to go on about it too much more here but that last thing I'll say is that even though it's an 8K camera finishing in 4K, it did not feel too "HD" or overly sharp as a lot of 4K material can. This was helped by the fact that much of the material being shown was anamorphic, and that will always give you a softer, roundnes feel the image that is more forgiving for faces and such but in all it didn't look hyper sharp. Anyway, I could go on about it but it's pretty good and probably my second favorite image right now. I would definitely like to see a test against the ALEXA 65.