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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 :)

Confessions...

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Jannard said:
I am personally completely happy with my camera. But others aren't. So we are not done.

I have already taken the best footage of my life with RED. And I know there is more to come.

I shot a two commercials with 35mm film (see www.oakley.com/history). Wish I had the RED ONE back then.

I couldn't be happier with this camera.

Jim
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Good answer.
 
I'm going to be broke after I buy this camera. Seriously Jim. You have to succeed because many of us are staking our entire livelyhood on your success. If you fade away we are f*cked. I've been renting the sh&t out of Reds and flying them from all over. Coding scripts all night to jump-start my workflow. I'm planning my own private LART as soon as I get my own not because I'm trying to compare it to some other camera, because I want to master it on it's own, faults and all. Like mixing paint on a pallet. Please ship the F-ing thing and as we say in this business, we'll fix it in post.

Ian
 
To me, Red seems so far ahead price/performance-wise that I'd happily call it perfect. But the fact that Jim thinks it isn't is a very good thing - so I guess I should keep my mouth shut and wait to see what happens next ;)

Angryseven said:
I will personally continue my support despite the odds. I am convinced from the evidence that the RED One is a solid camera even as it stands at the moment. As far as I am concerned, it has stood the test of fire. I do hope others understand the magnitude of the effort the RED team has taken on.

I do get a sense that most of the cameras shipped, the owners are out there using the Camera despite any perceived flaws and are probably quite satisfied with the visual results, even with the work arounds.
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I'd say a heck of a lot more than satisfied - and I'm not even an owner ;)

Speaking for our Ringo shoot, that was done on firmware that was WAY LESS capable than what is on the cameras now. And our video just showed on the CBS early show - with a viewership of 2.8 million people.

This camera isn't hard to learn. The DP had never shot with a Red before, wasn't an owner or anything like that. We just made sure that we rented from a good DIT / owner (Manny) and we were fine. Angryseven, you seem like a smart chap. I'm sure when your camera arrives, you'll be up to speed in no time... that is if you've been able to resist renting one before that! Probably you'll be up to speed *before* your camera arrives.

When we were choosing between the Red and the F900, the Red was MUCH earlier in development. Of course the usual worries came up ("oh man, I heard the Beta firmware crashed on another camera" etc etc). But the fact is even back then if you use the stable firmware the thing's damn STABLE. Had zero issues. And the footage looked FANTASTIC!

Re: workflow, Avid is my favorite editing software - so yes I agree it can be improved a lot. But good grief man, being able to use CF cards is SWEEET. Not renting a HDCAM deck is sweet. The first time I rented a HDCAM deck it came configured in a weird mode by the rental house and I spent a very long time on the phone to them trying to figure the thing out. It seemed like a frikkin' 747. And I know my way around a digibeta deck, etc. Red is already wonderful because despite it being higher-res, you don't have to waste time fighting decks, figuring out weird cabling / compatibility issues, etc. The data-based workflow is fantastic and will only get better in the future.

For short-form stuff with reasonable-ish deadlines (commercials, music videos) I think you're already ahead of most competing camera systems in terms of workflow. And compared to film, the whole "no lab, no telecine" thing can't be beat ;)

For long-form or high-end Avid work & finishing, it's obviously not quite there yet, but if you look at the posts of people like MichaelP (who I think is some mega-guru who works at Avid, and is also on Reduser - a good sign!) you'll see we're definitely getting there.

Regarding transcode times, they can be a problem if you don't prepare for them. But the $450 PC I bought off Craigslist is pretty zippy at running RedCine. If you took the money you saved buying a Red instead of a competing camera and put just a fraction towards a RedCine render farm, you would be in business.

Wow, I'm getting long-winded. And everyone else wrote such nice poetic posts. Feel bad.

The Red team is really fantastic - meet them in person and they come across as super-humble, friendly and open. Like passionate fellow filmmakers - but smarter, more useful and with better manners ;) Hence posts like what Jim just wrote.

Bruce Allen
www.boacinema.com
 
ibloom said:
I'm going to be broke after I buy this camera. Seriously Jim. You have to succeed because many of us are staking our entire livelyhood on your success. If you fade away we are f*cked. I've been renting the sh&t out of Reds and flying them from all over. Coding scripts all night to jump-start my workflow. I'm planning my own private LART as soon as I get my own not because I'm trying to compare it to some other camera, because I want to master it on it's own, faults and all. Like mixing paint on a pallet. Please ship the F-ing thing and as we say in this business, we'll fix it in post.

Ian
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Ian... your number will come up soon.

Jim
 
Laco Zamba said:
Bruce,

I agree, there is "no lab, no telecine", but today we need "RedCine render farm"
It's definitly cheaper, but it's slowing workflow.
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Ringo was all done on one Quad Mac Pro and an iMac. Much, MUCH faster than lab and telecine.

I've worked on music videos shot on film. All have had a slower turnaround from shoot to edit, and higher costs.
EDIT: sorry, I see you agree on costs...

If you are doing a 16-camera Red shoot over multiple days, then a render farm is needed.

Ringo was done before we could even edit Red Quicktime files easily in FCP. Now that's the case, it would be even quicker and easier to do.

Bruce Allen
www.boacinema.com
 
Jim thanks for a brave and honest report.

I heard there is a book on a way to be published>>>

Nobody's Perfect: RED ONE. :clown2: :)

I am just preparing to pay my RED this week.

Actually still checking the things about what do I need from accessories, etc...
 
Most importantly, how u solve this problem so its risk/schedule can be reduce and meet to the customers. Some changes and actions need to be done from RED.

Yeah we patient and impatient at the same time.

Still, i appreciate all what you've done, honestly !
 
karapetkov said:
This might be a lame question, but:

Couldn't the skew be un-skewed in post? At the cost of some image degradation?
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Karpetkov, so I far haven't seen any problems on Red shoots I've been involved with - so haven't needed to try to fix anything in post.

If skew ever is a problem, I'm sure I and other Redusers will let you know if we come up with any post solutions. I don't think there is an easy universal post skew fix. There have been a lot of discussions on reduser, most hypothetical. Practically anything can be fixed in post! Just sometimes it's less expensive to re-shoot.

I think it depends entirely on the subject. I'm sure in some situations it can't be fixed but for the average filmmaker who plans ahead, those should be extremely rare.

Bruce Allen
www.boacinema.com
 
Jannard said:
I shot two commercials with 35mm film - see oakley.com/innovation/history - Wish I had the RED ONE back then. "let is cleanse you of unconventional thought"...
Jim
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Those are 2 great spots, Jim. Dark overtones accentuated by the music and foley, along with the excellent production quality. I wish I could see these projected in RED 4K.

Thanks for sharing.
 
Your attitude towards the community and the passion to your dream deserves our understanding and love to this project.
The only reason I wasn't in the lower #'s were uncertain financial projections at the time.

Rates for the same type of work are much lower here. That didn't stop us from ordering.
Due to delays we postponed shooting few important projects for which we wanted to be done on Red One.
We didn't bitch about it. Patience was one of the prices everybody had to be aware of in the start.

There is something beautiful which you decided to share. For that you will be rewarded. In many ways.
One example is support and belief of thousands. Globally sent positive energy.
The second is artwork of many which will come. There will be more...

Just keep in mind that without the downs you wouldn't feel the ups...
 
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