Battle - shot on the RED EPIC in 5K Anamorphic!

Every operator, AC or DP who has worked with a RED knows about it's many idiosyncrasies. Even sound guys hate them for the racket they make. They're prone to crashes, they're impossible to hold steady (unless you kit them out), and don't even get me started on the god-awful workflow.  And on this shoot, we had TWO of them. 

 Me (with the crazy hair) and 1st AC Joshua Butt (in the cap), on set in the California desert. Photo Will Potter 

Me (with the crazy hair) and 1st AC Joshua Butt (in the cap), on set in the California desert.
Photo Will Potter 

But what other camera can give you a gorgeous, 2:40:1 using 35mm vintage Nikon glass?  Once I started to look at the footage, all was forgiven. 

 A delicious and dark RED 5K Anamorphic frame.

A delicious and dark RED 5K Anamorphic frame.

With a little time in a DaVinci suite, I could make an entire reel out of what we shot on this project. Of course it helps to have rockstars in your G&E department- who tackled a myriad of never before seen power problems, killer mosquitoes, stayed relatively calm even as that thing in the forest made noises like an angry monster bringing hell along with it, and who had the discipline to remember the union rules- two shots of whiskey for every hour past the 12th.