A Fincher FANatic

Recently some of you have emailed me about why one name keeps popping up on almost every post I've ever made. Those who have worked with me know that I bring his name up every time I talk about a great tracking shot, a gruesome story, a dark (pun intended) way of lighting, snappy edits or even a way of using more takes than usual.

Ever since I thought of pursuing a career in film/TV and re-watched "Fight Club", I was almost dumbfounded. When I first watched it when I was a kid, about 16, it was a cool movie. The ending was great, the premise/plot was cool and hey, I wanted that Brad Pitt eight pack and beat the crap out of anyone. When I watched it again, with all the knowledge of the George Lucas School of Cinematic Arts instilled in me, it was so much more than that. I think I've watched that movie at least once every month after that. Why? Because for me its the perfect movie. What is the perfect movie? The movie that offers everything and is not ashamed to hide anything. The social commentary is off the charts. Released in 1999, the political notion of Project Mayhem still resonates today, with the global economy crumbling and privatization and corporation out to take out the smaller dogs. Wanna fix this? Take out all the big shots and start again, from the rubble. I think I've moulded my life from what Tyler Durden says throughout the movie.  One great piece of dialogue I'll never forget:

"I see all this potential, and I see squandering. God damn it, an entire generation pumping gas, waiting tables; slaves with white collars. Advertising has us chasing cars and clothes, working jobs we hate so we can buy shit we don't need. We're the middle children of history, man. No purpose or place. We have no Great War. No Great Depression. Our Great War's a spiritual war... our Great Depression is our lives. We've all been raised on television to believe that one day we'd all be millionaires, and movie gods, and rock stars. But we won't. And we're slowly learning that fact. And we're very, very pissed off. "


People ask me why I named my company Damage Inc. (apart from the fact that I'm a Metallica nut), but the idea is Tyler Durden's. The Dhaka media scene is so messed up, you gotta start damaging the big guns with all the aces and then rebuild the "scene" from the ground up. New faces, new dogmas, new material. 


Now lets talk about the movie itself from a cinematic viewpoint. The cinematography and editing was brilliant (that opening sequence was hella awesome), Ed Norton became my favorite actor, the music was great and who knew Meat Loaf could act? I'm no Roger Ebert, so I can't explain how great the film is, so if you haven't seen it, please do so. I think its film making at its best.


Fight Club was only the beginning. There are other almost equally great films: Se7en, Zodiac, The Curious Case of Benjamin Button (which was a far superior film than Slumdog), The Social Network (far better than the King's Speech) and recently, The Girl with the Dragon Tattoo. I don't even know how many times I've seen these movies. Each time, they only seem to get better. Most of the shots, edits, color grades, stories I do have these movies written all over them. I made a camera rig just to take some of those shots and even named it after him. Rob Zombie once said, "Every guitar riff in metal is based off a Black Sabbath riff". I can easily say, "Every shot I've ever taken is based off a David Fincher scene."


I've had the pleasure of meeting the man himself and it was the best 20 minutes of my entire life. We talked the entire time about nothing but his philosophy of cinema. Why he made the move to digital and RED, why he thrived in making dark and dismal thrillers and how he said FU to the big shots of Hollywood and made his own "my way or the highway" attitude. Inspirational. 


He's also introduced us to so many new things we would have never been aware of. The new kid playing Spiderman, Jesse Eisenberg being a household name and before her OSCAR nomination for the portrayal of the US version of Lisbeth Salander, when did you hear of Rooney Mara? Using NiN man Trent Reznor for brilliant scores and making him win an OSCAR in a category reigned mostly by classical musicians, sheer genius. There is so much more I can babble about him. Most people are convinced I'm in love with him. I may indeed be. If someone says they don't care much of his films, I usually never even talk with them, let alone work with them. All I can say is that without David Fincher, I would never be who I am today.

And Short Films for all...

The last few weeks have been hectic to say the least. I had to take care of some ads that were prior commitments from November. I had to run to at least 20 meetings with some old and new clients in order to finalize the work orders for keeping Feb and March busy. Then there was the process of realizing that I had to stop working with someone I'd worked with for a long time. I think I realized it when another friend told me the real scenario, that this person not caring enough, suffering from indecisions and just doing whatever they wanted just made my company look bad and when high profile clients are involved, that's not a good thing. Finally, there was the starting of the JERICO Initiative, my own little project where I'm going to hire 6 kids to come and get apprenticeships and a film education and get paid for it.

Amidst this craziness, Bengal Creative Media (BCM) hired me as a DP to shoot a short film called "Stain". The movie was about corruption around the city, believe me there is a lot, targeting the drivers licensing bureau. The director turned out to be a fellow Los Angelino Emily Manthei. BCM is a company that has one of those special places close to my heart (aww.....) cause unlike most other production companies, these guys are doing great things with a shoe string budget and with a zero tolerance policy. I took a pay cut myself as well to help em out.

Stain was shot on the 7D again, which makes me sad for my CineAlta, which hasn't been used much since the Frayed Kit arrived. We shot on some of the tightest spaces I'd ever been in, which ended up being the licensing bureau. 5 actors crammed into a room not any bigger than half the size of a normal bedroom. I didn't get the luxury of a focus puller or my regular gaffer/grip. Emily also wanted a lot of handheld POV shots throughout the movie, as well as a lot of Fincher style motion. After the 3rd day, when she did find out that focus was an issue and perhaps too much for an MK to handle, I was given my regular focus puller, who ended up dropping my 100mm Zeiss on the ground.....twice. He became the 2nd person that I had to sever ties with that week.

The shoot ended up being good for the most part. Emily and I really didn't like the main actor though. She was amazed how people don't do screen tests here and just go on "recommendations". The side actors were far better. I guess I did a decent job too, since she asked me to DP her demo short film for her feature film Transnationals, a movie about adopted children the world over. She shot the first 2 parts stateside, but they were set in South Korea and Japan. The third part was here in Dhaka, where a young girl comes back to visit her orphanage, where she was adopted from before her new parents took her back to the US. Shooting began in Banani, DOHS, by a small school near a field. My friend Abe decided to come and help me as an AC, making him the first honorary JERICO. It was the day after the Giants Superbowl win and since both of are Giants fans, the morning started off a lil slow. Halfway thought the shoot, the local "authorities" decided to stop the shoot since the army did not like the idea of a white person shooting anything there. This is so like peeps over at that side of town....bitches. Anyway, I ended up scouting a slum near BCM's building where we finished the shoot. The slum actually ended up being a better more realistic place. Unlike Stain, the girl who acted in this short ( British expat) was really good and her facial expressions were actually dead on.

Here's the stuff...

Well now its time to go finish some TVCs, hire some JERICOs and start my pro bono for this year. I'll keep y'all posted.

Goodbye 2011, Hello 2012

First of all Happy New Year. As I sit and type this blog, I'm reminiscing the great year that was 2011. Sure, it had its lows, but overall 2011 ended up being one of those years that will be bookmarked for sure.

Lets recap. The year started off my moi getting my first ever gig as a director of a television commercial, something I never look forward to. Then there were documentaries, more commercials, a music video and while on vacation, a reality TV show and a short film (outside of a place I'd call home, with zero scouting). Apart from a few mishaps here and there, mostly successful projects. It reunited me with my LA brothers Lance Hobbie and Shane Glick, finally got to an SC tailgate, had a 20 min conversion with the man himself, David Fincher (where I couldn't put 2 words together without stuttering like a 6 year old Rob Pattinson fan) and of course found a directing "force to be reckoned with" in Sara Baumann. 2011 ended with news of making not one, but 2 feature films in the year ahead.

Which brings me to these 2 movies. In December I went with old friend and director Jahirul Hasan Badhon to Kurigram, a district north of Bangladesh. We went to shoot the documentary part of the feature film, which will be shot in the pattern of Band of Brothers, so real life interviews of Bangladeshi Freedom Fighters followed by live action dramatized events. The 7D with a Rode Video Mic and Zeiss primes (the now famous "Frayed" kit and slowly becoming my favorite piece of hardware) came along. Kurigram was ummm.....cold. On top of that, I tried the local "delicacies" and got extremely sick. Amidst all of this, we shot over 8 hours of footage in three days, met some real life Bangladeshi heroes and heroines and sadly also got a taste of how people who fought for the freedom of my nation are pretty much lost and forgotten (by their own people I might add) among the hoopla.

Here are some screen caps.

The other movie I'm gonna be working on is kinda about 3 stories in one kinda deal ala Amores Peros. Not a remake, not a copy, but 3 different couples brought together by a tragic event. I really can't go into details about this movie, since the copyright issues haven't been solved as the script is being finalized, but believe me, it sounds great. Really stoked about this one, as is anyone who listens to the idea/story. I volunteered to direct one of the segments myself. Hopefully I can get JH Badhon and Sara Baumann to do the other two.

Moving on to 2012. Apparently, the year we will all vanquish according to those Mayans. What a tragedy that'll be, since 2012 is the year I'm most looking forward to, as a camera gear ethusi....umm...screw it.....addict. If you love digital filmmaking, you're jumping up and down with joyful exuberance. New cameras from RED (new sensors for the EPIC and finally the Scarlet), ARRI (who else's celluloid heart will the ALEXA conquer), Sony (finally 4K CineAltas) and even Canon (C300 people??). If you're a celluloid lover, you're counting down the days till you're gonna have to make the shift eventually, with your film transfer machines, film processing labs getting shelved right next to the Moviola in the local film museum. I'm not the first one to say it, but here it goes again, 2011 was the year celluloid found out it was dying, terminally and 2012 will see digital starting to pull on the plug that controls its life support. The 2 best films of 2012 were shot digitally. Hugo was amazing and The Girl with the Dragon Tattoo was breathtaking. I had a discussion with Lance once about how everything would eventually become digital, where he vehemently opposed my views. Now, like his guru Scorsese, his motto is "who needs film?". I would personally like to congratulate Jim Jannard and the RED team. Had it not been for them, we would still be selling our houses to own a 1080/24p shoulder mount cam that shoots 422 8bit. Downsize, downsize, downsize and we now have a nuclear reactor in the palm of our hands like the EPIC. 444, 16bit, 5K, 120fps at under $50k. Bam!

Now will come the age of words like aliasing, moire, bit depth and of course my least favorite, ingesting, flying though the air. Unlike choosing film stock (bye bye Kodak and Fuji), DPs will be choosing sensors (by choosing different cams), LUTs and dailies, which will now be hourlies. Good times. The only people who are safe are the Lens guys. All the new cams come with a PL mount option, so cine glass will still have its charm. Zeiss and Cooke are still the big hitters, but new lenses from Leica (the Summix C) and Canon (Cine EOS) will give us more variety. Fujinon and Angieneux are cranking out great zooms.

So here's to a great 2012. A good friend suggested this title...."Film is dead, but cinema is ever so alive". Thanks to everyone who has read my stupid blog. I hope I given you some insight to the world of cinema and television as I live through it.

Here's the new 2012 Damage Inc. Productions showreel.

Getting Frayed in Traverse City and Sutton's Bay, MI

It was a fine late summer day in Dhaka. Sara Baumann decided she was going back home for Thanksgiving. I decided I was going to buy a RED when I was gong back to LA during that same time. As most film ideas happen, the director just had a random thought: "Why don't we shoot a short film in Traverse City?".

"Sure", I said, thinking it was just her wanting to shoot like a music video or like a touristy thing.

What transpired shortly after was a 20 page short film, which was originally going to be shot on my new RED Epic. Thus "The Frayed Ends" was born.

Everything fell apart shortly after. No real producers and finally no real RED, cause the buyer of my old camera backed out at the last possible minute. Yeah, life sucked back then.

We finally decided to shoot with DSLRs and try our best to come up with something that would show the awesomeness that is Traverse City.

After the entire Yogi show in LA, I was mentally and physically exhausted, knowing fully that I had more late nights ahead, shooting this short film. I flew up to Michigan. What happened after was truly one of the most amazing experiences I've ever had.

The entire community of Suttons Bay/Traverse City sort of rallied around one of their own, Sara Baumann, to get this project rolled out. A big shout-out goes to Mr Scott Tompkins, a school teacher who teaches media/TV production to high school kids. He got a group of kids together, who were all crying out for some practical experiences in the field. They all shared a common thing: a love for making films. These kids were awesome. They weren't payed anything. They didn't have any proper experience. They worked their asses off. They never threw hissy fits. They never even thought twice about anything that was told to them. Dhaka, Hollywood are you reading??

Everyone in TC/SB welcomed the film. We shot in the winery and the owner gave us access to everything, even his 1970s Ford Truck. We shot in a Lighthouse and the caretakers let us do whatever we wanted. THIS NEVER HAPPENS!! Usually its people being "okay" with shooting and then once the shoot is done, you're greeted with frowns and pissed off peeps looking to score money. Like I said....amazing.

Another awesome experience was getting to meet the Baumanns. Mr Warren Baumann aka "The Mayor" makes the best food, ever. Sorry mom, he wins that battle. I usually don't eat when it comes to shooting, apart from the usual caffeinated beverages, but holy cow was his food amazing. At one point I ate a quarter of a big aluminum pan of chicken pot pie and then licked it too.....spotless.

Ms Baumann and I drove up and down Michigan as well, going to Ann Arbor and Grand Rapids for casting and of course hitting up Zingerman's Deli while I was there. So I think I got more Michigan than I hoped for.

Sidetracking before the filming itself, while we were location scouting, Sara's sis in law, Jetty Rae (aka Britney Stewart) decided she wanted us to film a cover of Pumped Up Kicks. Her husband Jason, a really cool guy, came up with the concept of a sped of slow motion of the video, ala Coldplay's Yellow. One shot, one scene. The video was done in 3 hours....thats shooting, editing and color grading. Here's a look:

The shooting itself was good. I had recently purchased a Steadicam Merlin. Its a thing of beauty. Awesome shots, everytime, well most of the time. I brought my Zeiss primes as well and put them on the 7D. Brilliant images. I'm gonna start not recommending Canon glass to people, as the Zeiss glass is so much more cinematic, better contrast, better sharpness. But then again, they are about 5000 dollars more. Some of the shots don't even look as if they were shot with a DSLR, might I dare say, CineAlta-ish.

We shot for 5 days straight. The weather was ridonculous. I shot a segment among sleet that hit me square on the face. Oh yeah, that was with a steadicam too. Next time, I'm getting an operator while I'm cozying up with the rest of the crew. Yeah, like thats gonna happen. I only had one light kit. 4 Lowe Totes and 2 small fresnels. The dolly was made by the Mayor, but it worked fine. No jibs. But its when you have absolutely nothing, that the best stuff comes out from you. This being a prime example. My camera crew were awesome. Micah, Jeff and Curtis. They were carved of wood once they passed MK's school of hard knock DP-ing and they never bitched about it either. The art dept. was kick ass, the costume designer was straight (yeah, you heard me) and the make up was freakin awesome. All for free, unless you count smiles, hugs and Mr Baumann's cooking, which is payment enough in my book.

All in all, a great shoot with great people in a great place. I wish most of the "film communities" I've been in are more like Sutton's Bay/Traverse City. It would make my life much easier. With guys like Mr Tompkins and all those involved helping the young kids out there, I'm sure its gonna go places. Maybe I can even help setup (shameless plugin from the movie) the Jericho Swanson School for Kids Who Wanna Make Good Films and Do Other Cinematic Things Also. Food for thought. Oh and if anyone from Sutton's Bay is actually reading this....you guys need more coffee shops (aka Starbucks) to get us film folk out there.

Here are some snaps:

The Merlin kickin ass

 Its cold, see how everyone leaves the DP to freeze

 Marisa, my beautiful

 Cam crew....FIGHT ON!

Wrap! The Director is happy she doesn't have to argue with me about epic wides

 Grilling the kids

 Yeah, I'm Steadicam approved

When it came to cutting people, it was my job.....thanks Sara

Yogis...

So I finally boarded a plane and left Dhaka, from what seems ages ago to visit LA after almost forever. I was looking for some RnR, some good food and finally some surf. I was greeted by an (almost) wired Lance Hobbie. After the initial chit chat, I found out that Lancelot was shooting a reality TV show about yoga divas living in Venice Beach (aka yoga world central).

Since Lance was so jazzed about the show and it really seemed like an awesome concept, I volunteered myself to shoot part of the remaining stuff and "oversee" the editing part. If I had only knew......

Official quote: Yogis are craaaaazzzzyyy.

I'd heard some of the most ridiculous things ever while I was shooting. Most of them made it to the "sizzle" reel. When I first heard "sizzle" reel, I thought it was a porno thing, but later found out it was only an extended promo, supposed to "sizzle" the viewer to watch some more, or some shit like that. So LA.

Little did I know that I was going to have to give up almost everything I had come to LA for. Late nights, loads of caffeine (no nicotine though, which I started again btw, due to a moment of sheer stupidity and anger, only to regret quitting it in the first place) and finally hours upon hours of looking through crappy footage taken by the DP used before me and arguing with Lance over what needs to go where. The final result, with some help from the awesome Shane, turned out to be actually something a lot of people in Hollywood are "sizzled" with.

I got to meet Rainbeau Mars, a former Adidas yoga model and a larger than life character. Rainbeau is quite simply.....awesome. She said I had the light of Budda in my eye, which I think is a good thing. She also loved my shots, which is always a good thing. Also got the opportunity to show the stuff to Lon Rosen, who is the VP of Magic Johnson Enterprises and the manager of Alex Rodriguez, amongst others. What a man...(oh yeah he loved it too)

Overall, this being my first stint into reality TV land, I was really happy for Lance, who finally had a great thing going. With peeps like Rainbeau and Lon backing up the show, watch for it when it gets picked up soon.

Here's a rough demo of the "sizzle" reel:

Seaplanes, speedboats, soccer, chinese food, earthquakes and malnutrition'd children (and director)

While the Red One MX/Epic/Alexa/F3 battles in my head were finally put to rest, thanks to some input from Ms Sara Liza Baumann, she did convince me to help her go shoot part of her Save the Children documentary in Barisal, a small town south of the capital.

I have never been there before, so I really I had no idea what was in store for me. Firstly, I was thrilled to get on a seaplane again, since Barisal only has an abandoned airport and amphibious air transport is currently the safest option to get there. Its been ages since I got on a Cessna airplane (as my faded PPL would indicate). But within 20 mins after taking off in Dhaka, Capt. Emille got us down on Barisal waters. Then came the speedboat that picked us up from the plane. Now these aren't the Scarabs you LA peeps see up by Santa Monica pier either. Think of them as Kawasaki superbike engines put on rickety ass (locally built) mini SUVs, i.e they pack a punch but are unstable as hell.

We got to the jetty, met the Save the Children peeps and were down in the mud and rain shooting within an hour. This was Ms Baumann's new 5D Mk II's first gig. She decided to name him Max. Along with Marisa (my 7D) we began shooting the doc. The 5D was pretty much the A Cam used for the interviews armed with a Rode VideoMic, on a tripod and the 7D was handheld, shouldermounted by yours truly as the B cam. I came up with a way of making my own steadicam, handheld and shouldermount all-in-one system using a Noga Israeli Arm and a RedRock shouldermount. Change the arm settings to 90 degrees vertical and you have a steadicam with the shoulderpad acting as a balance for the 7D, or the 180 degree horizontal and you have a shoulder mount and finally a V shaped arm making a chest support that helps in unwanted shakes when taking handheld shots. Yeah, ingenious....I know.

We sometimes shot in the pouring rain and sometimes in extreme heat and humid conditions. Max and Marisa never dropped a beat or frame for that matter. These DSLRs are beasts. Good job Canon. Also, Baumann only had one spare battery and I had none. Only 3 16GB CF Cards were used. We shot for 3 days and ended up with about 200GB worth of data getting every shot that was needed and sometimes even more. Shooting conditions weren't ideal. Lots of mud making movement kinda hard. The indoors were dark, since these houses can only have one 50-100W bulb on at any given time. Having a blonde director made the locals flock over and ruin almost all my steadicam shots. At one time I even had to get on the hood of a moving minivan since we didn't have a dolly. Improvise, implement and execute.

Then there were the other stuff. You see these UNICEF ads on TV all the time. They show these little kids, suffering from diseases and malnutrition. You feel for them and then move on and do your daily thing. Maybe sometimes you even donate. But when you're 3 feet away from a near dead baby and visibly feel the situation, boy is it different. I try to keep this blog about film related posts (most of the time) but to all those who are reading this, please donate whatever you can to your nearest health organization. I personally guarantee you that: a) it'll be put to great use b) these people really need it and c) you owe it to the world you live in d) I promise to dance in your wedding (which, if you know me, is not an easy thing to get me to do)

There were some other stuff that happened too. We found a great Chinese restaurant and the waiter was awesome and even served us beer, risking his job (cause local restaurants can't serve alcohol without a license). There was a minor earthquake that freaked out my director. The director herself became anaemic and had me freaked out, so I had to force her to take iron pills (thanks Pops). We took an evening walk through a village neighborhood and the local kids forced me to play soccer with em after I dazzled them with some Ronaldo-like moves on the street. They might have not gotten the chance to see Messi, but they sure got to see some MK. Btw, the tea in Barisal sucks.

All in all, another shoot done. I was really happy with the results, depressed with the many problems infants face in these remote areas, glad for organizations like Save the Children caring for these kids and with so much time without any internet, without my favorite TV channels on TV and a semi-lonely hotel room, got some insights on the foreseeable future. And thanks to my mom for suggesting a name for the new camera I plan to buy. What is it you ask? Thats a another post for another day.......

New camera woes.....even before I get one

Hello, my name is Mehran and I'm a cameraholic.

Its been a week. A week since I've last slept properly and yes, I'm on vacation. Given my line of work RnR is something that I really look forward to. More than 4 hours of sleep is a luxury I can only afford when I'm on vacation. I just quit nicotine too, so that doesn't help. Why do I keep tossing and turning in my sleep? Its easy.....a new camera system I'm about to purchase.

I've lived on one general principal so far: don't worry about tomorrow, as tomorrow takes care of itself. It has gotten me through relationship issues, exams, numerous "life changing" injuries and any other thing that has been thrown at me. My "code" made me snore off any such challenges. Sleep it off and start again tomorrow and carpe diem baby. Now I can't even do that.

The good thing is, if you're a digital filmmaker, life cannot be any better. RED has the EPIC and the RED ONE MX, ARRI has the ALEXA, Sony just came up with the F3 and the list goes on. Remember the days you were just happy shooting an HVX? Seems so long ago. Now your camera is a joke unless it has 13 stops of Dynamic Range, 2K-4K-5K, 100+fps.....the list goes on. The bad thing is, when you have about a $100K saved up and all the above are options, which one do you get?

Two years ago when I bought "Nicole", my CineAlta, the choice was kinda obvious. The EX-1R with an external recorder, Zeiss lenses and a RedRock Micro lens converter. It wasn't crazy expensive and it got the job done, done extremely well. Unlike the RED that was available at the time, it didn't shut down when it overheated in the crazy weather in Bangladesh, or produce "plastic-y" images. It gave a more organic look than the Panasonics and it carried the "CineAlta" name (read my earlier post about the intro of "Nicole" into the Bangladeshi industry against 35mm).

Now, two years later, "Nicole" is on the verge of being sold, just awaiting on her payment. Once she gets adopted, her new owner will be on his way to renting her out and making bank. While her old owner will have about a month to decide on his next camera that is going to debut in a short being shot in Traverse City, Michigan before coming back with me and residing as the new digital powerhouse in Bangladesh.

But I digress. The reason I'm writing this blog is because of the anxiousness of the question I'm facing everyday.....what the hell do I buy??? My choice has narrowed down to one of these 4 cameras.
The RED EPIC, the RED ONE MX, the ARRI ALEXA and the Sony F3 with S-Log/444 enabled.

As a Fincher fan, you'd probably think I was swaying RED all the way. I kinda am. I saw the Social Network (shot on the MX) on the big screen, it looked awesome. I just saw The Winter's Bone and Beginners (thanks Rikhia!!) on DVD, both shot on MX and both looked awesome. Its the closest to 35mm I'd seen in quite some time. Truly, RED finally put a camera out there that I didn't laugh at (not a good thing btw) when I saw the images. So its easy to say that the RED ONE MX is really high on my list. Then RED drops a bombshell by coming up with the new EPIC. It has the same sensor as the MX but, it produces a cleaner image with less noise, Dynamic Range increased by a stop and of course 5K instead of the MX's 4.5K. Plus it can go to 300fps, is only 5lbs, about the size of a DSLR, doesn't chew up the battery like the MX and loads up in 10 seconds, whereas the MX loads up in nearly 2mins. Even Fincher is shooting with em. He's got 5 and along with the MX, he's finished up Dragon Tattoo. So I scratch my plan for the MX and now I'm thinking EPIC. But wait.....further reading.....the EPIC has its own problems. Firstly, it has no playback. Right, no playback, on camera. So to view your last take, you gotta get some external recorder, just for freakin playback. They say that they are working on it and "its right around the corner" and "no hardware will be required", but RED's motto has been "everything we say can change, anytime". So that scares me. Then I think about the first generation of Red Ones (non MXs). They used to have so many problems until RED finally addressed them and finally after 2 years came up with the MX, which truly had better images. Is this gonna happen again with the EPIC? Initial reports say no. The RED ONE MX has made movies (that I love and adore) but the EPIC is currently making movies (Spiderman, Hobbit) that I haven't seen. The EPIC is new. Bugs will appear as it does with anything new. The MX however is tried and tested. As far as image goes, the only thing I can go by are indie shorts on Vimeo that look marginally better than the MX, so not really worth about double the price tag. Sigh....now I'm thinking MX again.

Then there is the ARRI ALEXA. The camera 35mm enthusiast and Coen Bros. DP Roger Deakins swears by as the celluloid killer. For $80K+ it better kill something, apart from your mortgages. But price isn't the only issue here. In a world where RED is throwing K's at you like Roy Halladay in October (sorry non baseball fans), the Alexa is still 1080p. Good enough for my world but down the line when I'm making (God willing) a movie to put up on a theater? Of course you may argue many 1080p movies have been on cinemas so far (Avatar, nuff said). However, I read more again and find out that for the best possible results, the ALEXA needs to record ARRIRAW on an external recorder, which costs $50K itself. Ouch. This doesn't affect the Dynamic Range of this baby, which btw is ridonculous (its 14 stops, no wonder Mr Deakins loves it so much), but it records (compressed) Pro Res (444 or 422) onto SxS cards. But raw images are so much fun to work with, fun enough for an extra $50K, don't think so. You do get the ARRI name with it though. In this country thats worth its weight in gold (which is kinda high now, as my mom keeps reminding us). In Bangladesh, the name ARRI produces what I like to call, a filmmaker's boner.

Last, but not least, there is the lil beast from Sony called the F3. Continuing the love I have for the CineAlta series, this baby caught my eye. The "big-daddy" F35 is still one of my favorite cameras. The F3 with the new upgrade that enables S-Log and the 444 output puts it right up there with the F35. At about 1/4th the price. Which means more new furniture for my soon-to-be apartment and possibly more money in my Audi/Porsche fund. The F3 is being hailed by many as the baby ALEXA. It has more Dynamic Range than the EPIC (without the HDRx, which is another story, but from what I've seen HDRx on the EPIC is something I'd stay away from as it makes the final image look kinda bad) and second only to the ALEXA. The F3 is actually more low light sensitive than the ALEXA. I'll need to get an external recorder though, but Convergent Design has the Gemini 444 coming out (interesting story, I got a text from a local camera rental company in Dhaka saying that they already have one, which is weird since the thing is not even out yet....hmmmm.....) which will record uncompressed S-Log/444 from the F3 onto SSDs. All Sonys come with one thing for sure. It'll be bug-less and reliable. Wont shut down even in extreme heat/humidity. But at the end of the day it still is 1080p, just like the ALEXA. Not future-proof.

So I take into account all these factors and I'm still sleepless and scratching my head. Just talking about the RED (EPIC or MX) made one director start jumping up in joy and start posting on Facebook about shooting on RED. A recent client pushed back my shoot to accommodate the RED, with a nice grin on his face. The guy buying my "old" camera had this to say, "RED!! WOW!! Isn't that camera like ten million taka (or $150K)?" That's what Jim Jannard's company has done. RED now means "business". Fincher, Pirates 4, Soderberg shoots on it, so it must be good. It really is. People here are still mystified by the RED. There are a couple of non-MX Red Ones around here. People have used it and rightly haven't been satisfied. So unless its not an EPIC, they won't understand that its a "new" camera. Then I'm spending 20 mins more just replaying the damn footage as it has no playback. I could get the F3 but there are some non S-Log F3s around as well. Some clients won't even care about the extra features. From a business perspective they'll think about the F3 and the RED ONE MX as its already been here for a while, why pay more (ala the CineAlta syndrome I previously had)? So, I could get the ALEXA and have clients slob all over it and charge ridiculous rates, only knowing that option and the 1080p might also be possible with a camera worth $60K less, so it'll hurt me on the inside. So it comes down to business vs Fincher vs functionality/reliability. As of right now, there are no clear winners. So if you're reading this, please make one for me. Which one would you buy? Oh yeah, I'll need a name for the new cam, whatever it is, got any??