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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 Update...

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"hollywood , ad agency , talent scouts , good ole boy network and many more are ALWAYS looking for new talent ( directors , editors, DP's , actors/actress , producers, gaffers, crew etc ) .. they always have their eyes/ears open ...[/QUOTE]

A fact I have seen firsthand!

don't worry about RED "opening" doors..it will not, your skillz will, gotta have mad skillz bro, bottom line.
 
RED is a new tool in the film business. Period. It will not make a bad shooter good. It will not make bad lighting look good. It will not make a shoot with a measley art department budget any better.

It will not get you into shooting A-List commercials. You are dreaming if you think it will.

It is a tool. I am very hopeful that this new tool gets quickly accepted by these very people that you mock. Because that is what is needed. Not your naive attitude that these skilled DP's, if they reject RED, will suddenly be losing out on the next Nike commercial to the likes of 'what's-his-name' with a RED. Not..gonna...happen.

The game is the game, and it must be played in order to make it to the top, outside the rare exceptions. In general though, I am gonna work my ass off to convince the existing DPs and 1st ACs I already work with that RED is a viable new tool that they should be using. I see far more benefit in this than the naive attitude of RED or nothing. Ultimately, if I go in with that closed-mindedness, they won't listen anyways. That, and I value their opinion greatly.

People who think the big budgets, the PAs, the trailers, the Starbucks runs, the stuntmen, the nice sets, etc. etc. etc. are gonna be replaced by RED are just plain silly.
 
way to lay it Skippy :) what's your line of work look like? Do you direct?

BTW I can remember when the same was said of the HVX..."it's gonna open doors etc etc...:)

But don't you think it will make a good gaffer look even better?? and a guy that can color time like the best, have more range?
 
obin said:
way to lay it Skippy :) what's your line of work look like? Do you direct?
QUOTE]

Nope, don't direct. Don't shoot either. I am a video assist guy, who is moving into the world of RED data management and on-set workflow. Work almost exclusively in high-end commercials. Lots of days on set each month. Also partner in a rental house that rents out gear.
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coolness...RED is going to be a data centric flow no doubt....gonna have to deal with the data, keep it safe, and make sure you don't loose it!! :)
 
Jannard said:
If you are talking NAB 2007, you are looking at March 2008.

Jim
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I still don't understand this. The updated schedule says reservations through 1,600 will be delivered January 30. Weren't at least early NAB orders under 1,600?
 
obin said:
"hollywood , ad agency , talent scouts , good ole boy network and many more are ALWAYS looking for new talent ( directors , editors, DP's , actors/actress , producers, gaffers, crew etc ) .. they always have their eyes/ears open ...
Click to expand...

A fact I have seen firsthand!

don't worry about RED "opening" doors..it will not, your skillz will, gotta have mad skillz bro, bottom line.[/QUOTE]

Guys, if you really read my posts, you'll see that's what I'm saying too. However, the addition of the RED One to the toolset is only going to make acknowledgment that much easier for those that have the requisite skills. In the wrong hands, the camera is no more a magic talisman than a Leatherman. Believe me, I GET IT.

Further, I've put in my time, and I'd like to think I'm no slouch either. However, there is something more to "making" it in this business than simply going out and delivering innovative, or "cool" visuals. There's a networking side, and a money side just like any other. And if you can't bring money to people's pockets...forget about it. If you're a video director, forget trying to get signed with @Radical.Media unless you've got:

1. connects with a Dave Meyers, or someone over there
2. have a ton of contacts with music vid commissioners at labels
3. are best friends with a director's rep
4. are best friends with a currently signed and hot director

Again, I'm using the above as a simplistic view of what one has to contend with. There are countless production companies with a name you could venture toward, but in the end the same will be true for most. I try not to speak in absolutes, but the odds are cleary not in our favor. With or without RED One. Yeah, I get it.
 
obin said:
"hollywood , ad agency , talent scouts , good ole boy network and many more are ALWAYS looking for new talent ( directors , editors, DP's , actors/actress , producers, gaffers, crew etc ) .. they always have their eyes/ears open ...
Click to expand...

A fact I have seen firsthand!

don't worry about RED "opening" doors..it will not, your skillz will, gotta have mad skillz bro, bottom line.[/QUOTE]

Obin, seeing you seem to have an inside track on all these agencies and prod. companies that are so actively looking for new talent - why don't you clue the rest of us in? I'm really dying to hear this one. Where are you signed? Do you have work on-line now?
 
skipdivils said:
RED is a new tool in the film business. Period. It will not make a bad shooter good. It will not make bad lighting look good. It will not make a shoot with a measley art department budget any better.

It will not get you into shooting A-List commercials. You are dreaming if you think it will.

It is a tool. I am very hopeful that this new tool gets quickly accepted by these very people that you mock. Because that is what is needed. Not your naive attitude that these skilled DP's, if they reject RED, will suddenly be losing out on the next Nike commercial to the likes of 'what's-his-name' with a RED. Not..gonna...happen.

The game is the game, and it must be played in order to make it to the top, outside the rare exceptions. In general though, I am gonna work my ass off to convince the existing DPs and 1st ACs I already work with that RED is a viable new tool that they should be using. I see far more benefit in this than the naive attitude of RED or nothing. Ultimately, if I go in with that closed-mindedness, they won't listen anyways. That, and I value their opinion greatly.

People who think the big budgets, the PAs, the trailers, the Starbucks runs, the stuntmen, the nice sets, etc. etc. etc. are gonna be replaced by RED are just plain silly.
Click to expand...


For someone who doesn't even direct, you sure have a strong opinion about how to accomplish the task. I've done it...several times over...have beaten the odds...am not signed...do NOT deal with bullshit...and have had spots on MTV.

Fuck the system. Screw pretentious film snobs, that can only work with the latest steadicam, and need the bureaucracy of a Hollywood-style set to feel secure. I've watched people boondoggle, and attempt to ingratiate themselves with the next person up the totem all day on those sets and it's sickening. I have no desire to be a part of that.

Do I want to make money? Sure, who doesn't? Do I want to sell my soul to do so? No thank you. Do I use a similar hierarchy on my sets? Yes, I do, however it is much more streamlined. I'm not afraid to empty garbage, paint a cyc, or do some art direction if needed. I'll also assist with lighting, and camera to the limited degree that I can. And I don't think my films have been complete failures. They represent the best effort I could muster given what I had to work with.

That's right. Now that may or may not be naive, but I've got stripes at this point. I've worked with some very talented artists, and the system you speak so highly of sure doesn't seem to be doing a whole lot for any one of us.

I shoot. All I'm saying is, for the price point, the RED One is an excellent acquistion tool. That's all it is, and all I'm saying. Up to this point, I've shot Super 16, DVCpro 50 and DVCpro HD. Now I'll be able to step up to resolutions I couldn't touch before due to cost restrictions, and have the flexibility to shot various formats too.

If my skill set is lacking...there's no camera that's going to mask that fact. I GET IT.
 
Film Ylem said:
Music Vids - Again, I'm using the above as a simplistic view of what one has to contend with.
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Probably a good example. That biz is all about living within that crowd. I saw a really good video from a guy who shot a $25k 35mm music video as a demo piece and he couldn't even get representation.

The way to make your break there is go right past all those people and start shooting all the up and coming bands for free and making kicka$$ stuff. Then the bands trust you, like you, request you and it's over... you just jumped past all the BS because the band is the client and they so who's cool and who's not. You'll get representation and get in the game.

You have to make your own connections because you're not putting someone else who's doing the job just fine right now out of work. Even if they cost 10x as much.

Hollywood needs talent like Major League Baseball needs talent. They're always starving for another Barry Bonds. But there are TONS of guys who are great at the game already playing.
 
joelnet said:
Probably a good example. That biz is all about living within that crowd. I saw a really good video from a guy who shot a $25k 35mm music video as a demo piece and he couldn't even get representation.

The way to make your break there is go right past all those people and start shooting all the up and coming bands for free and making kicka$$ stuff. Then the bands trust you, like you, request you and it's over... you just jumped past all the BS because the band is the client and they so who's cool and who's not. You'll get representation and get in the game.

You have to make your own connections because you're not putting someone else who's doing the job just fine right now out of work. Even if they cost 10x as much.

Hollywood needs talent like Major League Baseball needs talent. They're always starving for another Barry Bonds. But there are TONS of guys who are great at the game already playing.
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Finally, someone who gets it. Geez.
 
Film Ylem said:
Finally, someone who gets it. Geez.
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A guy I know made it pretty well in the music vids. He's done something like 60 of 'em for label bands. But ya know what? He can't get a break into narrative film. And his music videos (all 35mm) are truly the good stuff. He's dying to make a feature but producers won't touch him. Or any other music video director. The word is out that they can't transition to long form well. They party like rockstars and tell stories the same way.

I don't know... you just gotta find what you really love, make friends and play artistically well with others and be in the top 5% or so of the talent pool.

Or make your own content and become a very good marketer of it.
 
joelnet said:
A guy I know made it pretty well in the music vids. He's done something like 60 of 'em for label bands. But ya know what? He can't get a break into narrative film. And his music videos (all 35mm) are truly the good stuff. He's dying to make a feature but producers won't touch him. Or any other music video director. The word is out that they can't transition to long form well. They party like rockstars and tell stories the same way.

I don't know... you just gotta find what you really love, make friends and play artistically well with others and be in the top 5% or so of the talent pool.

Or make your own content and become a very good marketer of it.
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That's exactly what I'm saying. You can use the RED One to AUGMENT whatever abilities you already have, or are fostering. It's certainly not going to make me a less capable filmmaker. And if I have to continue doing it on my own...what a way to do it on my own.

Should established H-Town start to notice and want to appropriate what I'm doing...look out. And I have stirred the pot; you'll be seeing more of me. I guess I'll be one of those idiosyncratic directors that studios and dev heads are afraid of. Fuck em. :angry03: They don't give a shit about any of us, the people in the trenches, outside of our ability to turn dollars for them. That's the thing to remember. At the end of the day, we are all merely commodities. I actually care about the people I work with. If I could go in my pocket to make things easier for ANYONE on my set, you can bet I would. And I'll work right next to whoever's toiling.

My point is, I don't need them to make films, and I'm not waiting for them to "greenlight" me. If I can't have the extras that come with big budget studio fare, I'm still going to bring something you can't ignore.
 
Film Ylem said:
It's certainly not going to make me a less capable filmmaker.
My point is, I don't need them to make films, and I'm not waiting for them to "greenlight" me. If I can't have the extras that come with big budget studio fare, I'm still going to bring something you can't ignore.
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Yeah - that's the RED attitude.

That's what RED offers... we can sit around and learn how to pull focus and compose 35mm style and play with lighting all day long. If we're really smart we'll get actors together and shoot, shoot, shoot. Edit, edit, edit. We're going to get good. It'll take time, but as Obin said, we'll be able to do it cheap and fast.

When it's great we can go direct to the people on the Internet and verify it's great.

Hollywood has been watching for hot stuff on the Internet. Not the clueless backslappers on bloated sets. People in development and acquisitions are watching. People at the talent agencys are watching.

If you're a hit on the net and it's wide appeal Hollywood or Cable style content you're going to get a phone call. They know. It's their job to know.
 
joelnet said:
Yeah - that's the RED attitude.

That's what RED offers... we can sit around and learn how to pull focus and compose 35mm style and play with lighting all day long. If we're really smart we'll get actors together and shoot, shoot, shoot. Edit, edit, edit. We're going to get good. It'll take time, but as Obin said, we'll be able to do it cheap and fast.

When it's great we can go direct to the people on the Internet and verify it's great.

Hollywood has been watching for hot stuff on the Internet. Not the clueless backslappers on bloated sets. People in development and acquisitions are watching. People at the talent agencys are watching.

If you're a hit on the net and it's wide appeal Hollywood or Cable style content you're going to get a phone call. They know. It's their job to know.
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Thank you Joel, you're brilliant man. Really. That's the attitude that will put you ahead of everyone else.
 
Film Ylem said:
A fact I have seen firsthand!

don't worry about RED "opening" doors..it will not, your skillz will, gotta have mad skillz bro, bottom line.
Click to expand...

Obin, seeing you seem to have an inside track on all these agencies and prod. companies that are so actively looking for new talent - why don't you clue the rest of us in? I'm really dying to hear this one. Where are you signed? Do you have work on-line now?[/QUOTE]

Nice jab buddy. I have been making a living doing production for 7 years. I own a production company, have done work for many of the networks, produced a feature that was on screens in 8 states, have mobile content on platforms around the world and over 2 million views on our comedy content on the broadband platform, have won a bronze pencil at The One Show in NY, nominated for a Daytime Emmy award etc and so on.... signed? don't need it, work never stops coming in and I see no reason to give away 10-20% of the budget for stuff with an agency ....:w00t: :w00t:

how about yourself?

watch who you piss on, I could be your next client, and you could be mine. lets keep it professional around here shall we? :)
 
obin said:
I could be your next client, and you could be mine. lets keep it professional around here shall we? :)
Click to expand...

Speaking of pro, I've always drooled over "Obin's HD Tornado" that's a cool shot. Have you ever posted a tutorial or BTS on that shot? Kinda curious if you comp'd real elements or used CG?
 
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