In the past month, I produced a case study involving Canon’s C500, while at the same time appearing in an IBC case study about the first studio release shot on the Alexa Plus 4:3. This confused some people, because not only did I have good things to say about both cameras, a lot of people think Light Iron only does projects acquired on RED cameras.
The truth is, in 2007, RED was the ONLY camera company with a viable road map and vision for a file-based cinema system. My partners and I had already been interested in engaging in a file-based future, not a film or tape based future. At that time, if you wanted RAW image capture at high resolution in a file-based format with cinema lenses, there was only one available solution: RED ONE. Knowing file-based cinema was where the industry would inevitably be, Light Iron’s early business naturally and proudly involved a lot of high profile RED projects.
Now that file-based cinema solutions have been created by every other major camera manufacturer, it makes sense that 60% of Light Iron’s business is actually non-RED.
The innovations that Light Iron pioneered have always been based on where we want to be, not where we are – and the market has, in fact, migrated in the way we predicted it would. It is because of this approach that our talent and tools are equally capable of leveraging the benefits of every camera on the market. We are confident experts in the ways of Alexa, Blackmagic Cinema Camera, C500, F55, GoPro, and even iPhone as much as we are in the ways of RED.
Back in Light Iron’s early days, I recall being criticized by a post production competitor who claimed, “You spend too much time worrying about how cameras work and not enough about how post works.” On the contrary, the engine of a train dictates the direction of the caboose well before the caboose is made aware. The Light Iron team realized that to be masters of the craft of post production, we had to know as much about the DNA of a camera as a cinematographer does. Because of this, Light Iron is the smallest post house that manages the biggest movies with some of the best looking digital pictures the industry produces. And unlike the competition, Light Iron is sincere when we say, “Shoot whatever you want; we know how to optimize whatever tool you prefer.” To us, the differences between all the digital cinema cameras are measured in dimes, not dollars.