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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 :)

delivery schedule

I stand corrected - again!!

I stand corrected - again!!

mezmo said:
Hi Red Army,
Thanks for all the great posts, you guys have a great passion for this
camera and Indie Film. I've no intention of diverting you from your mission.

I dont think anyone at Arri,Thompson,and Panavision give a toss.
And Sony and Panasonic are not really in the Cmos area yet. It'll happen.
Mezmo doesn't work for any of these guys, he makes their products work
for him. Mezmo is a Content Producer and Film/Digital D.P.
He is not the evil one.

Love___________________________________ Mezmo
Click to expand...

Hi Mezmo,

Sorry mate - it looks like I was all wrong about you and I do apologise.

Have you seen the Fankie in Action post !! That's fantastic!!

Now I know I'm going to have problems once I get my camera. And I'm really looking forward to them!!

All the best, Phil

BTW, the drinks are on me at the Hoff House if you are going to be at NAB on Tuesday evening around 6-30pm

http://www.hofbrauhauslasvegas.com/location/index.php
 
Anticipation...

Anticipation...

Subtext of Mezmo's posts: we're all gaga over a camera that has never been tested so we're not too bright. No wonder we've been on the edge of a flame up.

The only real issue in all this is timing. It is too early in the development cycle for the Redheads to be this gung ho, fair enough. It is also too early for Mezmo to expect prototypes to be available for a complete test suite. Let's not forget that David Stump was allowed to check out a test bed proto which was damn impressive.

In closing, the early adopters / reservation holders have taken a leap of faith which they hope will lead to a special experience and a competitive advantage.

In the immortal words of Jimi - "I'm the one that's got to die when its time for me to die, so let me live my life, the way I want to"
 
mezmo said:
...
It's a codec based DFilm camera,cheap and cheerful. I dont think anyone
at Arri,Thompson,and Panavision give a toss. And Sony and Panasonic are
not really in the Cmos area yet. It'll happen.
...
Click to expand...

Actually, isn't the latest offering from Sony (in the below 10K range), the V1, a CMOS camera?! Apparently, early tests have resulted in great images, considered largely superior to the Z1. In my humble opinion, this is the best option below 10K, we all know what the best option is (will be) in the over 10K segment.

Cheers,
Damien
 
earthling,

The V1 is CMOS based, and not only that, but it's the first camcorder to hit the market using a 3-chip CMOS sensor block with pixel shifting. Sony hasn't said what the actual resolution of their CMOS sensors in the V1 are, but looking at the number of advertised along with the "effective" pixels, I'm betting they're 1280x1080 effective, with a horizontal green shift to make up the extra horizontal luma info.

DOF is nearly non-existant on the V1 due to it's small sensor size (about 1/3.9") and its low-light performance is supposedly not as good as teh FX1/Z1. But the color looks great and low noise too. Overall it looks to be a nice upgrade from the FX1.

Personally, I still think in the sub $10K market the best camera is still the HVX200. It may only be a predominantly 720p camera, but with its tapeless workflow, variable frame rates and awesome color reproduction it can't be beat and 4:2:2 non-GOP to boot.
 
Jeff,

I agree, I like the HVX, but workflow wise, it depends what you're shooting, at least for documentaries, it's not viable, unless you have a big budget. I've been shooting quite a lot with it lately, but tapeless workflow, although that's where we're going, doesn't do it for me. I use a FS-100, works great, but it's a hassle, noisy as hell, eats batteries very fast, the small 4 pin firewire plug on the HVX is weak, scares me. Now if we had 32 GB P2 cards, at a decent price point, yeah then I would take an HVX for our next doc in Colombia, but for now, we'll stick to the Z1, unless we go with a Z1.

Side note, the V1 is also Sony's entry, at least in their sub 10K cameras, into the progressive arena.

2nd side note, about 720p, it is hardly used in Europe, and I see no future for it. The reason being when you down rez to 576 lines (PAL) you can lose sharpness, verses when you're coming form 1080, at nearly twice the resolution, the images are sweet.

Cheers,
Damien
 
Earthling,

You're scaring me. Since I won't be RED capable in time, we're ramping up for a doc shoot with several HVX cameras with firestore drives based on the ease of 720p workflow in FCP with the sweet firewire HD1200A panasonic vtr.

Have you seen PAL transfers from 720p?
Not good enough for SD broadcast?

Jeez - I'll need to take this to the post house and see for myself. Thanks for bringing it up since global sales are critical to financial success.

Cheers,

Sharky
 
Hi Phil @ Tranquil Light.
Thanks for the offer of a booze-up, undecided about NAB this year
and I've no problems with anything said about mezmo on this thread.
Since my last post two Red camera bodies have been offered to me
for testing, one reasonably early on the delivery schedule. So mezmo
will be able to feed his testing habit if all goes well.

I'll also try and hook in a D20,Viper and possibly a Genisis on the pretext
that Red would make a great complimentry camera to the big guys.
For handheld, rigs, Stedicam, and Limpet mounted to fast moving cars
Red would be a great low cost 2nd/3rd Unit back-up cam.
Panavision use the arri 2c,3 and 435 for this kind of work in filmland.
Young guys buying into Red could also offer up their gear on a bigger
film for this kind of work and make some extra bucks on the side.

Going off topic a little here but I'll just go into the testing plan.
All digital footage would end up on Sony SR Log tape. My Macpro quad
should handle the Red processing. At a local post house it would pass thru a Truelight LUT box and into a 2k Davinchi, graded and then sent out to
a Barco for projection onto the big screen.

This should a give us good look at how all cameras behave together
and if Reds footage can be intercut with any of the big guys cameras.
Or if in fact it's better, I don't think Red will be disadvantaged by
this given it's obvious price advantage. I'll also try and drag in some famous old D.P,s (much beer needed) and get them to put in their 2 cents
worth.
At the same time I'll output a 422 linear version of the digital footage using
the Truelight /Davinchi colorspace conversion so we can compare it to
the Redcine processing from Log to Lin for HD TV work.

This may all seem daunting to some guys buying the Red to shoot doco's
and low budg indie stuff but it's an option you have with Red. Its a Log Box
just like the big end cameras and should be able to play in the same pool.

I'll keep you posted phil,_________________________Mezmo
 
sharkguy said:
Earthling,

You're scaring me. Since I won't be RED capable in time, we're ramping up for a doc shoot with several HVX cameras with firestore drives based on the ease of 720p workflow in FCP with the sweet firewire HD1200A panasonic vtr.

Have you seen PAL transfers from 720p?
Not good enough for SD broadcast?

Jeez - I'll need to take this to the post house and see for myself. Thanks for bringing it up since global sales are critical to financial success.

Cheers,

Sharky
Click to expand...

No, I must admit this is from a friend of mine responsible for post-production in one of the bigger production houses here. He's got a lot of work, with Viper footage among other things. I trust him regarding this, he's seen footage from very many sources. I've stuck to 1080i50 (with a Z1) and 1080p25 with a HVX. I would definitly do a comparison before setting off on a large project with a HVX.

As to SD broadcast, I've seen very crapy images broadcast. I hate to admit it, but I even had some images I shot with a HVX in DV mode broadcast, they looked good though. I had just received the FS-100 and no time set up properly so shot in DV. I'm pretty sure however that SD PAL originated in 1080 will look bettern than from 720.

Also, 1080 footage will also have a longer life span, it seems like TVs in europe are planning to air HD mostly in 1080 from what I've heard.

Keep us informed.

Cheers,
Damien
 
The majority of HD monitors in the US are 720P if one reads the fine print. Any changes in the EU market as in true 1080 monitors?
 
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