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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 :)

Los Angeles Red Users group

I'll only rent #8 with me in the package as either DP, cinematographer, DIT, or along as simply security for the camera. My martial arts training will come in handy!

With #700 I'll have the same policy. I maintain my production equipment real well. I've found that others don't have that committment when they're using rented equipment. If I'm there on the set with my stuff I'll make sure they take care of it as I would - or they won't use it.

BTW - I'm based by San Luis Obispo (at Pismo Beach) on the Central Coast for lifestyle purposes (love it!), but when I'm not globetrotting for production work, I'm in the L.A. area an average of two or three days a week. I also fly out of L.A. for my national and international production work. My production partner, Ken Corben ("Sharkguy"), lives in L.A. and we have an office in L.A.

I'd like to be considered a member of the L.A. RED Users group.
 
LA Red User

LA Red User

Don't know if anyone has time to take this to the next level, but I bought the domain name lareduser.com which I presently have redirected to the Red User Forum for LA Red users. Anyone want to make it its own site? I just wanted to reserve the name to keep it within our users.

I am presently located in the SF Bay area although I still keep an apartment in LA. I think I'd feel most comfortable renting out my camera package with a DIT, especially up here. Since I'm #1166, much ground work will have already been laid by the time my camera's on the market.

David
 
LA Red user group?

I'm in.

As far as renting, I plan to go out with my camera or send a tech out with it as part of a package. I'm going to off set the cost of my Red package by renting, so I can buy more lenses, etc.
 
So i posted on another thread.. but Would like to formally post the idea here!
Who would be down for a 1ce to 2ce a month breakfast club?
We would meet.. eat..and discuss the camera functions. We can learn from each other about new things found about our beloved Red One. any issues can be resolved with the help of fellow users. We can either call it Red Breakfast Club..
Or Red Users anonymous... but it would just be a real life forum accompanied by deliciousness and mimosas
 
Hello, Fellows.

I want to introduce myself to you. I am a picture producer and digital production consultant in Los Angeles. (I also have a home in North Carolina, so I have attempted to start a REDuser group there.) I am very excited about RED Digital. I have several feature projects that I'm developing that I hope to use the RED workflow to produce and I have several friends that have ordered a RED.

I would like like to join you, and I would like to make a website for "this breakfast club". I have developed many websites, some for the rich and famous in Hollywood, and I would be delighted to contribute in that way to this group. I only recently joined REDUser.net. I wanted to be sure that I was knowledgeable enough about the subject matter before jumping into this with you experts.

I have aleady written to a couple of you already about this, but I want to let you alll know about a web page that I have just put online, The Digital Cinema Information Base.

The first function on the website is a RED Owners list. The purpose of the list is to establish a place where producers like myself can easily find and contact RED owners, users, RED DPs, and other knowledgeable technicians like yourself. I predict that when producers realize the full potential and benefits of using RED, the demand for people like you will be significant. I feel that this owners list can be important in assisting and supporting RED production.

Please go to the database at www.rodneyrecor.com/Digital, take a look at what I've begun, and please enter yourself into the list if you like. As you use the database, I welcome your input and suggestions for how it can be improved or modified to suit users like yourself. Feel free to send me your feedback, comments and criticisms.

Thank you!
 
To all of the L.A user group.

First and formost I want in.

ABOUT FEES

I was budgeting for my next feature, so I was looking to do this in 4k because of the need for integration for digital Efx. I searched high and low. The cost for a two camera shoot with the technologies currently available was over 9000.00 a day (based on a three day week with all the bells and whistles) and that doesn't include the full staff to shoot.

I will never tell anyone what to charge, but Zakaree your worth way more than that brother.

The revaluation is here, if the nearest alternative to our services is what I was quoted above. Than a 1000 dollors a day is crack whore money.

We at this stage don't really know what the true cost of the workflow is, data management, output, there's no spool of exposed negative or tape stock to cover your ass here. One bad drive and your screwed, as a producer your camera is 1/80th of my film's day cost. And if it screw's up guess who I'm coming after to pay for my re-shoot. If you can't pay for it I assure you, your camera is going home with me, and then-some.

Will Red be accepted by the feature film community? The answer is they don't have a choice. We will be providing super 35 results at a minimum of 60% of a conventional film budget. Not are we saving them big money. We are providing additional ancillary markets of distribution to the Producers, and Studios.

Someday 4k will be hanging on walls of living rooms all over the US, 4k players, the 4k network, and Netflicks4k.com. That future is as certain as the a setting Sun. The clients who use are services are in the position to exploit those emerging markets at vary minimal addition cost. Those of you who think I am a crazy man look no further than your own dvd collections.

We are providing a raw source that will make these people huge money. We should price accordingly, and they will pay. There is enough big hitters out there who want to use it, this isn't some 1080p piece of crap. My Grandma has that hanging on her wall for Christ sake. The point I'm trying to make here is this, work smart not hard.

I remember this story about two DP's sitting at starbucks, lets call them Chuck and Larry. Larrys bragging about how he's booked for twenty days this month at 300 a day. Chuck say's. "Wow that's great." His friend nods his head and asks. "How about you man, what your month look like" Chuck tells him the hard truth. "Only 5 days this month". Larry shakes his head "What are you charging a day?" Well I gave them a deal at 3000 a day." Who would you rather be a Chuck or Larry....

Remember we are not competing with the local cable company for Sam's house of bargains TV commercials, or ACME's widget training video. We can get 1080 and HDV for 300 a day for that.

I look forward to meeting and talking to all of you. Oh great and grad members of the most influential user group that this community will ever have.

Feel free to contact me personally with your point of view.
 
Very well said, you are obviously someone that has many years working in this crazy business. I know, as you do, that if you have a product or skill the producers need on their production, they will always have the money to pay for it. It is not that I want to take advantage of a situation, I feel that the price should be set according to the demand. My fear is that with so many REDs on order the demand will be short lived. The only thing we can hope for is that RED owners will not shortchange themselves and the camera by giving it away just to get a job. If everyone charged a fair market price for their rentals the producers would have to pay the rate to use the camera.

I have seen it over and over again in the industry. Once there is an abundance of a product the price always drops. I understand that, I just hope we can keep the price up for as long as possible. I would hate to see guys renting their RED package out for what we pay to rent an SDX-900 or even an HVX-200. I see this as a real possibility in the next few years.

The Sony F-23 4K camera costs $250000 and has the same picture quality as the RED, I doubt any rental houses owning this camera will be giving any big breaks on the rental any time soon.

If RED owners keep the rental at a fair market value, the industry will respect the camera more and will not look at it as a toy. If you work in Hollywood you will know what I mean.

How many times have you done a job for top dollar and the producers respect you, and your day is usually a cake walk. On the other hand, how many times when you given a producer a large discount because they say they have no money, for a job, and you end up working twice as hard and the producers usually treat you like shit. This attitude goes for rentals as well. If the producers are paying top dollar for a product, the feel they are getting something special.

I don't want to "Price Fix" the RED camera rentals, but I would like owners to agree to a range that we agree to stay in.

If we created a network with the LA RED User group, and could bounce around RED jobs to one another this would keep the cameras working. I know people get greedy and want every job the can get, but with a little patience we could all come out ahead.

As RED owners we are put in a very special place, we own a piece of equipment that the producers really want to use. Trust me the producers will try every trick to con us into renting the gear as cheep as possible. Once the price drops, it will be almost impossible to get it back up again.

I know I am venting my frustrations, but I just feel very strongly that done right we could turn our RED investment into a very profitable business.

Thanks,

Shane
Video8film Productions

P.S. We should try to get a contact list together soon. REDs are going to ship any day, so we do not have much time to get organized.
 
Weather you agree with Shane or not, our group is going to set the tone for everybody else. There are allot of fish in this pond. What we do here will have ripple effects. I'm looking at a rental bid for an Arri 535 just the body is 1100 a day. The Viper is 1700 without a lens 1200 dollars for a field recorder and baby producers are lining up.

Take Gibby for example, the guy is making time available for everybody else to get a head start. he doesn't have to that. He is well within his right to be an LA asshole, but he's not. If you could get him and his rig for 2000 a day. You would kill yourself to get that deal. It's more than a piece of gear. I'm telling you we can get 2500 a day with an operator for 4k production. Every day of the week and twice on sunday.

You know maybe we should do what the free Masons did. No Price minimums. We just set a standard of quality production principles, that set us professionals apart from the bottom feeders. So when we say you get what you pay for it means something.



THIS IS A FEATURE FILM CAMERA, NOT YOUR UNGLE BUCKS CAMCORDER.

Look at it this way. When you shoot a Super35mm film, you put in the can just over an hour of footage a day. To process, Telecine, and sound sync for dailies. is a minimum of 2000 a day. We haven't even gotten to Datacine-ing for digital manipulation. You do that for a 28 day shoot that's a cool 56000 dollars. Plus you have a 24 hour turn around see what you've shot.

Hiring one of us at a 2500 a day, at a three day rate per week. Translates into the company getting at net savings of 26000 dollars, and you haven't even shot a frame yet. Not to mention the time savings.

Tell you what, let me negotiate all your feature deals I'll get you what your worth....

I'm sorry I don't mean to be heavy handed it was late as I was typing, it was Friday, and I was buzzed. No more drunk posting I promise
 
Shane wrote: "I don't want to "Price Fix" the RED camera rentals, but I would like owners to agree to a range that we agree to stay in." That's like saying "I don't want to date fat girls; but I only want to date girls over 400 pounds." Even if price fixing wasn't illegal and immoral, the hard fact is even though Adobeone shouts "THIS IS AFEATURE FILM CAMERA, NOT YOUR UNCLE BUCKS CAMCORDER" well my Apple computer with Final Cut is a feature film editing system and a fine one but it only cost me 6000 dollars to put together and I can't charge what they used to charge when non linear systems costs hundreds of thousands of dollars. Technology moves on, the price of coffee goes up while the costs of microchips and digital cameras and hard drives etc. goes down, that's how it goes. And thank God for that by the way, I don't want to miss out on the next "Once" just because a cabal of camera owners got greedy and priced some gifted starving artist out of a fair deal. I'm all for commerce but when your ideas of commerce start to hurt the art, it's time to do everyone a favor and move into selling air conditioners in stead.
 
I was working in the OC and thought I would pay the Red offices a visit. I've had some questions about my Red order that I wanted to talk to someone at Red about. My questions were mainly about what type of storage option should I order and how much. I am setting up a Red package to use for myself, and to also use as a rental unit.

I met with Brian over at Red, he was very kind to sit down with me for about an hour and go over all my options.

I told him I was on a budget, and what I planned to do with the Red. He made me a spread sheet with my costs, and was very helpful in explaining my options.

THANKS BRIAN, I am no longer confused.

I just wanted to say that things look a whole lot different when you sit down and do the numbers on the camera.

I got a quote from Brian that ended up being:
$27,000

I still need to buy the following for my package:
Lens', Matte-box, HD Monitor, Cables, Tripod, Cases, Mac Tower, and Redundant Storage.

This added equipment will send the price of the Red package up an additional:
$50,000 to $60,000 depending on what kind of deals I can make.

This my friends ends up making the Red package an $80,000 investment.

It puts it in the same class as the F-950 as far as price, not quality. I don't see O&O's of those packages giving them away for a few hundred dollars a day.

Because the Red has a different work flow than a traditional tape camera, the initial investment will be much steeper. I am tired of hearing how cheep the Red is. Yes it is a fantastic deal for the quality, but if you think you can spend $17,500 and get a working package you are very mistaken.

I would like to make a comment to Betsy. The reason they call it an Entertainment Business is because it is a "business". I love the craft of film making as much as the next guy, but I also understand we work in an industry that tries to make a profit. If you can find someone to give me the $80 thousand for my Red as a donation, I would be more than happy to help out student filmmakers, and independents. If I am spending that kind of money on a "business" investment, I have to try and make a return on my expenditures.

What if a CEO of a car rental company told his stockholders that he was going to rent their cars at a loss just because he wanted to help out people who could not afford to buy a car. What do you think would happen to the stock, and the company.

I think I will take a wait and watch stance in regards to the Red rental market. I have a couple of months left till I get mine. I have a gut feeling that LA is going to be quickly saturated with Red cameras. When this happens, as with all products, when the supply becomes greater then the demand. the rental prices will fall.

As O&O's we will have only a short time to recoup our investments. I have no idea how short it will be, but think about this. The Red is basically a very advanced piece of technology, and with all technology their will always be a competitor that comes out with a simular product, that works better and is less expensive. Lets just hope it is not like computers where every 6 months a new better piece of equipment comes out, on average.
 
Acting reel assistance

Acting reel assistance

Holosynthetic said:
In the coming months I wanted to put together an acting reel, something a little out of the ordinary. If anyone wanted to help me make it by contributing lighting equipment, black screens for a backdrop, boom mics, etc. I would be most appreciative, along with allowing you to use my RED camera in future projects free of charge.

-Vincent
Click to expand...

Vincent - We have all of the gear you requested including editing if needed. If we can help drop me a line. We are RED reservation holders 15 & 16, but can always use extra cameras :biggrin:

Brad
 
What Happened to the Breakfast Club?

What Happened to the Breakfast Club?

Hello, Gang.

I still like Zack's idea for a "Breakfast Club". I suggest once a month.

How about September's breakfast on Friday morning, September 21, 8am?
I have the resources to get the info about it onto the web. I'll post meeting dates, times, locations, and resulting notes about it on the DCGA website.
( wwww.rodneyrecor.com/RED/DCGA )

If you're interested, please rsvp to say you're coming and suggest a place.
rodney@dixiemedia.com
 
Breakfast Club

Breakfast Club

OK, Adobeone.

The planning and organizing is all yours. Tuto and myself are in so far.

Any day is OK with me. Just tell me when and where, and I'll be there. Set the date and time and keep me up to date with what you work out, and I'll post it on the DCGA website as I said. ( www.rodneyrecor.com/RED/DCGA )

I'll email you separately with my and Tuto's email address.
 
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