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RED ONE Quotes
Peter Jackson
I liked what they were doing - making a digital camera of the utmost quality, and making it affordable for indie filmmakers. It also looks like film - it has a very attractive quality to the image - none of the "digital" look I've seen with some other HD cameras.
Peter Jackson, Director and Producer of "The Lord of the Rings" Trilogy and "King Kong"
Steven Soderbergh
This is the camera I've been waiting for my whole career: jaw-dropping imagery recorded onboard a camera light enough to hold with one hand. I don't know how Jim and the RED team did it - and they won't tell me - but I know this: RED is going to change everything.
Steven Soderbergh, Director and Producer of "Ocean's 11", "Ocean's 12" and "Ocean's 13"
Rodney Charters
I have had the opportunity to test the RED ONE camera over the past few weeks, including a direct comparison to the same film I shoot on "24". All I can say is that I am totally amazed. Revolutionary might not be a strong enough word to describe what RED is doing.
Rodney Charters, Cinematographer on "24"
Albert Hughes
We did a side by side test with a RED camera and an Arri 435 at the locations where the movie was to be shot. After processing and D.I., we did a film out and presented both sets of images to the producers. All picked the "shot on film" images on the right as the best ones. They were half right. It was the best footage, but the footage on the right was shot on RED, not film. Both Don Burgess and I were shocked that RED handled the actresses' skin better than film. It had a creamy quality, more of an old style trick that dp's used to use when they put pantie hose on the back of lenses. We are now one week into shooting and we couldn't be happier with the look we are getting.
Albert Hughes, Director of "The Book of Eli"
Jon Farhat
We're shooting RED side by side film. We scanned the film 4k and took both into the Baselight, compared them and then did a filmout of both. When we screened side by side, we literally could not tell the difference. In fact, most people picked the RED footage as film because of a greater dynamic range in the highlights than in the 5218. It's not enough to say it is the best digital image out there. The fact is, finally, we can intercut digital with film. It looked remarkably better than the filmed images. I thought I would never be able to say that.
Jon Farhat, VFX Supervisor for "Wanted"
Mark Neveldine & Brian Taylor
Film is dead. And by the way, so is video.... The word is getting out that RED is the future, but for us it is right now. After holding these bad boys in our hands and putting the cameras through the full neveldine/taylor acid test our faith in the mad scientists at RED labs is unlimited. We're committed to RED for every project we've got in the pipeline.