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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

10 features and several tv shows...

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Barry Green said:
So yes, Sony will introduce whatever they want, whenever they're ready, regardless of whether the customer wants it or not. And they will make it as proprietary and non-compatible as they can, and just as soon as they've milked you for what they can get, they'll dump it and start all over and start milking you again.
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Yeah, color me "surprised" at NAB last year with Sony's announcement of the XDCAM EX, after a couple of years of Sony spouting "there isn't a market for flash based prosumer video cameras."

Because of their recent action, I wouldn't surprised if Sony has been hard at work building a challenger to the Red One since a bunch of their R & D guys wandered into Red's tent and saw Crossing the Line. They could very well have acted before then, but I think once Jim, Ted, and the team had more than just a body on display (a full rig and CTL at NAB 07'), that was the moment Sony said it's a "niche" market, while working quietly, but diligently, on XDCAM Blue. ;)
 
I think it is a redundant discussion pitiching sony against red. It will be a couple of years before you can even begin to make that argument. Its childish and silly. Both camera companies products will be in wide use soon. It is true that red has set the tone for this price point to beat in this acquisition revolution. I know little about technology so please some one correct me, but from all I have read the Red camera and its post process makes absolute sense for filmmakers. The post process is still data intensive, it is after all 4k, But you can buy the camera today shoot in 2k,or 1080p, post easily, and still get a better, clearer more dynamic image than 90% of camcorders out there.
Many folks are caught up on the geekish hype of having all the 4k resolution and exhibiting in 4k. Sony is a great company but F*** them, they have no interest in your success. The Ceo of Red is reading this post right now, all things considered thats where my loyalty will be. Kudos to all the non red employees/ geeks out there creating workflows and other software for cheap and most times free. Red is a forward thinking company in a new fimmaking era of progressive artists. with all the HD TV shows and straight to DVD films out there Consumers dont even remember what film looked like, AND THATS THE TRUTH. Read all the articles on showest this year Exhibitors and are more open to digitally acquired films now more than ever, so whether you use film or HD or Red, its all accepted now, your stories are all that matters now. content is king
 
shashbugu said:
your stories are all that matters now. content is king
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Content has always been king. Deep Throat made with a Super8 film camera for $28K grossed over $600 Million. Three stooges made with simple 16mm fixed focus lenses are still watched by millions. Blairwitch project made with consumer video camera made over $144Million.
 
laguun said:
IBM fallen from grace?
did i miss something?
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What I meant by that was, these are companies that used to be absolutely de-facto standards. Ubitquitous brands, the biggest brands in the world, a GM car in every garage and an IBM computer or typewriter on every desk, etc.

"What's good for GM is good for the country", right? Now not only is GM not the top automaker in the world, it's not even the top automaker in its own country. And if you go by stock market valuations, at one point the stock market valued Harley Davidson (a MOTORCYCLE company!) higher than it valued all of General Motors *combined*.

As for IBM, there was a saying at one point that "nobody ever got fired for buying IBM." Now it's difficult for an end user to even buy anything by IBM. What do they even make anymore? Nothing for end consumers, right? They pretty much derive their income largely from consulting fees and patent royalties and high-end servers. Which, there's nothing wrong with that, but it's not exactly a prevalent ubiquitous brand on every desk and in every home, like Apple and Dell and Sony and GM. There are no more IBM personal computers, IBM typewriters, IBM anything anymore, really. I shouldn't have said they've "fallen from grace", but they're not in the business of making end products anymore, they've transitioned their business to something entirely different (which is working out well for them too). The point was their end-user products used to be ubiquitous, now they aren't; in fact they're pretty much extinct.

GM sells to end customers. Sony sells to end customers. IBM sold to end customers. GM's sales to end customers are shrinking. IBM's sales to end customers have disappeared. That's what I was getting at, if in a clumsy way.
 
RED with standard set up will cost around $45 K.
It has 4K pixels and it takes 35 mm lenses.
4000 people have so far paid a deposit for RED.
Sony and Panasonic both keep selling their 2/3" 1080p HVX3000 and F900 for more than $50 K. They sell more than 4000 units/year and their sales are brisk.
RED has not affected the sales of Sony/Panasonic.
If Sony & Panasonic were worried about RED, they would have already announced at least 35mm 2K cameras.

Can someone explain this phenomenon?
 
chuckt said:
RED with standard set up will cost around $45 K.
It has 4K pixels and it takes 35 mm lenses.
4000 people have so far paid a deposit for RED.
Sony and Panasonic both keep selling their 2/3" 1080p HVX3000 and F900 for more than $50 K. They sell more than 4000 units/year and their sales are brisk.
RED has not affected the sales of Sony/Panasonic.
If Sony & Panasonic were worried about RED, they would have already announced at least 35mm 2K cameras.

Can someone explain this phenomenon?
Click to expand...

Herd vs heard... The herd still is following the leader, while those who have heard are turning toward a new leader.

(This is entirely my opinion, and in no way reflects the opinion of Sony/Panasonic or the RED One Digital Cinema Camera Co.)
 
chuckt said:
Can someone explain this phenomenon?
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Sony and Panasonic make video cameras. The cameras are produced by their Broadcast divisions, and are sold to broadcasters.

Red doesn't make a video camera, they make a raw digital imaging camera. And they don't tailor it to broadcast, and as such, they really aren't even in the same business as Sony and Panasonic. So neither of them are cannibalizing the others' markets.

Where Red will affect Panasonic is on the VariCam, and with Sony they'll hit them on the F23. Both of those products WERE designed for the digital cinema market, and Red will outsell them by a huge margin.
 
chuckt said:
Sony and Panasonic both keep selling their 2/3" 1080p HVX3000 and F900 for more than $50 K. They sell more than 4000 units/year and their sales are brisk.
Click to expand...

You might want to check your sources on the HPX3000 and F900 units sold. I don't believe they sell nearly that many.
 
Today there was a special report about Climate change and Bangla desh on Jim Lehrer News on Public TV.
The report was wholely done on DVX100. Simple SD camera, small, easy to carry, records on cassettes.
But the report was well done.
Somebody should donate few REDs to the Public TV news crews.
Donation will be tax deductible and Jim will get free advertisement.
 
I don't think Red needs advertisement at this point. A great product sells itself. Period.

Just stand back and watch Red get bigger and bigger...
 
I think you mean DVX100. Not a big deal, but us nerds tend to get a little excited when we hear about a camera that we think doesn't exist yet.
 
Michael Douglas Feature Shooting With 6 x RED's

Michael Douglas Feature Shooting With 6 x RED's

... we just found out a new Michael Douglas feature is being shot on RED in New Orleans.

Jim[/QUOTE]

We are currently shooting a feature film in Shreveport Louisiana with
Peter Hyams the Director/DP of such films as:
2010, End Of Days, The Musketeer and The Presidio just to name a few.
(Click link for IMBD) and starring Michael Douglas, Amber Tamblyn & Jesse Metcalfe.

We're shooting in 4K with final output of 4K film scan. The workflow, along with the immediate response of what you see is what you get (to a certain degree),
makes the process of filmmaking more responsive and for most cases faster.
It's like having your negatives developed on set and then having them instantly available to you. There is no more guess work involved.
We were very fortunate to have had full support of Apple and Red in order to help us create a very efficient workflow.

The Red responds really well under low light. We're shooting most of our scenes with available light/ practical light.
The amount of details in the highlights and shadows is unlike what any high definition camera could ever capture.

We are doing a lot of in-camera color adjustment due to the fact that Quicktime proxy files create a flat pass and create more of a washed out low contrast image.
Since this can affect the look of your dailies, it was unacceptable for Peter. Therefore, in-camera color adjustments were necessary.
The other solution would have been to use Red Alert or Red Cine to set your contrast and your gamma curves, but this process is time-consuming when producing dailies on set.

As far as image quality and the organic feel, it's not even close to film. It's still digital, but offers another available tool for the appropriate project or vision.

We are putting the Red through a full test with all available accessories.
The camera has responded so well, even prompting Michael Douglas to inquire on the Red's capabilities while on set.
We are currently shooting with the following:

6 x Reds,
2 x EVF's
6 x Arri 19mm Base Plate Sliding Dove Tail & Full Cinema Support
6 x Hot-Swap Battery Supply for RED Cameras (non-stop shooting)
1 x Set of Arri Master Primes: 14, 18, 21, 35, 50, 75 & 100mm T1.3 (best lenses I have ever seen)
1 x Arri Ultra Prime 180mm T2.0
1 x Arri Prime 100mm T2.0
1 x Arri Prime 135mm T2.0
1 x Cooke 18-100 Mark II T3.0
1 x Cooke 25-250 Mark II T4.0
2 x Steadicams
1 x Super Techno Crane
2 x ArriHead 2 Geared Head
9 x Panasonic 8.4" HD LCD Monitors with Waveform
7 x Panasonic 17" HD LCD Monitors with Waveform
1 x Panasonic 26" HD LCD Monitor with waveform
5 x Preston Full Fiz Wireless Follow Focus Systems
1 x Viewfactor Prototype Remote VTR Start and Stop
6 x MB20 4 x5 Mattebox
2 x MB14 6x6 Mattebox
2 x LMB5 4x5 Clamp-on Mattebox
6 x FF5 Follow Focus
4 x Cine Tapes
6 x Ambient Clockit Boxes

Along with everything else needed to support a feature film of this magnitude.
This new digital technology is simply phenomenal and will change cinema.

Thank You

Michael Mansouri
Radiant Images, Inc.
hd camera rentals.com
 
What Hardware & Software you use?

What Hardware & Software you use?

radiant said:
... we just found out a new Michael Douglas feature is being shot on RED in New Orleans.

Jim
Click to expand...

Michael mansouri,

Thanks for the update of RED Cameras and Accessories used in your film shoot. We we eager to know your Hardware & Software used on set and process used with them.

Thanks for sharing pictures of on set.
 
Hardware & Software Used on Feature

Hardware & Software Used on Feature

Hello Balaji,

On this feature we started with using build 14 and last week we upgraded to build 15.
Ever since we used build 15 the camera has been allot more stable and love using the EVF.

The biggest improvement on build 15 has been the use of multi monitor and 120fps.

Also image quality is much better on redcode 36


Thanks

Michael
 
Computer used on Set & Process?

Computer used on Set & Process?

radiant said:
Hello Balaji,

On this feature we started with using build 14 and last week we upgraded to build 15.
Ever since we used build 15 the camera has been allot more stable and love using the EVF.

The biggest improvement on build 15 has been the use of multi monitor and 120fps.

Also image quality is much better on redcode 36
Click to expand...

Thanks Michael.

Anything to reveal about Computers used on Set and the software and if possible the process and workflow?

If you have any NDA, no need to explain.
 
Post & Workflow

Post & Workflow

So we used the following on set:

3 x Apple Macbook Pro 2.6 2GB RAM
3 x Hoodman UMDA Card Reader
4 x 2TB Firewire 800 Hard Drive (for on set capture and archive)
30 x 250GB Lacie Rugged 7200 RPM Firewire 800 bus powered (for dallies to be shipped of set, for offset backup)
1 x LTO Tape Backup System
1 x REDCINE v1.0.4 (Build 90)
1 x RED ALERT! (v1.5.6)
1 x Apple Final Cut Pro 6.02
1 x RED RAD (v1.0) Used for log and transfer directly from FCP
 
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