Morning Glory
Well-known member
Tattoo, I think I love you.
Tattoo, I think I love you.
Well, If I am honored with the offer of a Tattoo, I would gratefully accept. Being a Tattoo artist, it wouldn’t be my first Tattoo. But it may end up being my most favorite one!
I've been with Red since it was a rumor on DVXuser.net and a splash page at RED.com. I gladly put my deposit down on day 1 of NAB 2006. I called at 8AM MST and left a message on the machine. Nervously excited I waited all day for a call back. Past midnight my time, EST, I figured they were too overwhelmed by the response in person at NAB and maybe I should be more realistic and wait until NAB is over before I worry about my reservation being received. Then at 12:15 EST I got the call, reserved #98, and since then my life has never been the same.
I've always loved film. I'm an artist and moving pictures are my primary medium. I've owned a Bolex since 1994. I would carry with me everywhere and shoot a visual journal. My brother Gregor and I, both in film school, knew even then that film was on it's way out. We figured by the turn of the century or so that film would be relegated to a fine art, as painting was after photography exploded on the scene.
When HD came along, I was never quite sold on it being on par with film. I kept my bolex, although shooting less and less as $50/minute for 16mm film was quite steep for a self funded artist. When I pulled funding together to shoot my first feature, we had very little cash and lots of donations and deferrals. Many people tried to convince me to shoot HD as it would be cheaper. But I had an opportunity to shoot 35mm, my first time (and now as a Red owner, my last) shooting on 35mm, it was spectacular. Gregor DPed for me so I could concentrate on the actors.
in late 2005 I was really itching to return to my daily shooting practice and I was considering an HVX200. Gregor recommended against it, saying I wouldn't be satisfied with it as a full Bolex replacement, and told me to start researching this camera that was only known by a primary color.
Although I did have to send my brother to my red day, I am the full owner of the camera, but I knew we were partners in the venture and there was only room for one of us, so with his greater experience in film accessories, he went south while I stayed here to prepare the battery of tests we would put it through upon it's arrival.Since I recieved Red ONE #98 back in October 2007 I have been constantly working with it. Mostly as a DIT/DMT supporting my brother on countless indie shoots: shorts, music videos, commercials and features. The first thing we shot was a short "proof of concept" for one of our favorite directors, Rob Stefaniuk. This short proved indespensible for him and his producer to secure funding for his second feature, SUCK, which we were able to shoot the following year, December 2008. This show was my entry into the union world. It was perfect timing as the producers in the union world were just starting to feel brave enough to try something new. For me, being a DMT has been a great use of many talents and skills I have developed of the last decade: filmmaker, computer nerd, film editor, stills photographer (already dealing with RAW and color correction. For a piece of technology to invest in and use to further my art, it sure was a happy accident to find a new career.
Venturing into the union world, I have avoided the politics as best I can and help anyone with advice and to ensure their Red experience was as optimum as it should be, whether I was getting any compensation or not. One thing I cannot abide is injustice. And anytime I saw or heard someone spreading FUD I worked my hardest to dispel it. I have worked with many other DPs in the last two years as a RED DMT and have adapted my approach to suit each of their working practices. I've helped many PMs, editors, post supervisors, sound recordists and camera depts glean a greater understanding of the RED ONE and it's workflow. There's one DP that I've fully converted to RED, he's one of those pioneer types that on one set we even used (shhhh!) a beta of build 20 as most of our shoot was Night INT. Something I usually consider verboten, well two things, changing a camera build midshow and using beta firmware in a professional environment. But rules only serve us to a point, and in certain situations must be overruled. It worked out splendidly and we are prepping for his next show, shooting on the RED of course! This DP is now referred to as "The Red Baron". Me. some people call me "Mr. Workflow". Either way I've always worked hard to maintain the integrity of the DPs vision throughout the chain. Which means lots of phone calls to labs, editors and colorists. Made some great friends along the way.
It's true that my post count is small. Never been one for posting "me too!" or contributing something someone else has already said. Although there was a lot of feedback my brother and I were able to provide and some bumps in the beginning, I always felt it made more sense to contact the manufacturer directly rather than to publicly air technical issues which most likely wouldn't be solved in a public forum. And of any manufacturer to contact, Red is a dream. I have never been left without an issue resolved satisfactorily. Red is MORE than fair. You guys are great, rock solid! I personally want to thank Kelly, Brian, Nate, Travis, Sean R, and all the others who have always been so courteous and helpful.
As for my own shows, well, I've been very, very occupied with my new career, brought to me by RED. Thank you. I've shot some things here and there, but as a one man band I haven't worked out my own flow. I'm VERY inspired by Mr. Gibby and his various set ups, even envious of his tenacity, work ethic and physical stamina. Whether I am blessed with a Tattoo or an Epic X, I will be carrying it with me EVERYWHERE. This camera is my Bolex replacement, that I know already. THAT is something that will change my life again. As for me, art is the food of the soul. If I am blessed to be chosen as a beta tester, I will take FULL advantage of my privilege. As would my brother, Gregor. And “The Red Baron”. And many others. It will see a wide variety of situations and set ups; from one man band to small indie shoots to full blown union jobs, even if it is side by side with the Red ONE as a test or additional camera.
Mr. Jannard, and the astounding Dream Team you've assembled around you, for now, the past 3 years and into the future, thanks for listening.
Tattoo, I think I love you.
Well, If I am honored with the offer of a Tattoo, I would gratefully accept. Being a Tattoo artist, it wouldn’t be my first Tattoo. But it may end up being my most favorite one!
I've been with Red since it was a rumor on DVXuser.net and a splash page at RED.com. I gladly put my deposit down on day 1 of NAB 2006. I called at 8AM MST and left a message on the machine. Nervously excited I waited all day for a call back. Past midnight my time, EST, I figured they were too overwhelmed by the response in person at NAB and maybe I should be more realistic and wait until NAB is over before I worry about my reservation being received. Then at 12:15 EST I got the call, reserved #98, and since then my life has never been the same.
I've always loved film. I'm an artist and moving pictures are my primary medium. I've owned a Bolex since 1994. I would carry with me everywhere and shoot a visual journal. My brother Gregor and I, both in film school, knew even then that film was on it's way out. We figured by the turn of the century or so that film would be relegated to a fine art, as painting was after photography exploded on the scene.
When HD came along, I was never quite sold on it being on par with film. I kept my bolex, although shooting less and less as $50/minute for 16mm film was quite steep for a self funded artist. When I pulled funding together to shoot my first feature, we had very little cash and lots of donations and deferrals. Many people tried to convince me to shoot HD as it would be cheaper. But I had an opportunity to shoot 35mm, my first time (and now as a Red owner, my last) shooting on 35mm, it was spectacular. Gregor DPed for me so I could concentrate on the actors.
in late 2005 I was really itching to return to my daily shooting practice and I was considering an HVX200. Gregor recommended against it, saying I wouldn't be satisfied with it as a full Bolex replacement, and told me to start researching this camera that was only known by a primary color.
Although I did have to send my brother to my red day, I am the full owner of the camera, but I knew we were partners in the venture and there was only room for one of us, so with his greater experience in film accessories, he went south while I stayed here to prepare the battery of tests we would put it through upon it's arrival.Since I recieved Red ONE #98 back in October 2007 I have been constantly working with it. Mostly as a DIT/DMT supporting my brother on countless indie shoots: shorts, music videos, commercials and features. The first thing we shot was a short "proof of concept" for one of our favorite directors, Rob Stefaniuk. This short proved indespensible for him and his producer to secure funding for his second feature, SUCK, which we were able to shoot the following year, December 2008. This show was my entry into the union world. It was perfect timing as the producers in the union world were just starting to feel brave enough to try something new. For me, being a DMT has been a great use of many talents and skills I have developed of the last decade: filmmaker, computer nerd, film editor, stills photographer (already dealing with RAW and color correction. For a piece of technology to invest in and use to further my art, it sure was a happy accident to find a new career.
Venturing into the union world, I have avoided the politics as best I can and help anyone with advice and to ensure their Red experience was as optimum as it should be, whether I was getting any compensation or not. One thing I cannot abide is injustice. And anytime I saw or heard someone spreading FUD I worked my hardest to dispel it. I have worked with many other DPs in the last two years as a RED DMT and have adapted my approach to suit each of their working practices. I've helped many PMs, editors, post supervisors, sound recordists and camera depts glean a greater understanding of the RED ONE and it's workflow. There's one DP that I've fully converted to RED, he's one of those pioneer types that on one set we even used (shhhh!) a beta of build 20 as most of our shoot was Night INT. Something I usually consider verboten, well two things, changing a camera build midshow and using beta firmware in a professional environment. But rules only serve us to a point, and in certain situations must be overruled. It worked out splendidly and we are prepping for his next show, shooting on the RED of course! This DP is now referred to as "The Red Baron". Me. some people call me "Mr. Workflow". Either way I've always worked hard to maintain the integrity of the DPs vision throughout the chain. Which means lots of phone calls to labs, editors and colorists. Made some great friends along the way.
It's true that my post count is small. Never been one for posting "me too!" or contributing something someone else has already said. Although there was a lot of feedback my brother and I were able to provide and some bumps in the beginning, I always felt it made more sense to contact the manufacturer directly rather than to publicly air technical issues which most likely wouldn't be solved in a public forum. And of any manufacturer to contact, Red is a dream. I have never been left without an issue resolved satisfactorily. Red is MORE than fair. You guys are great, rock solid! I personally want to thank Kelly, Brian, Nate, Travis, Sean R, and all the others who have always been so courteous and helpful.
As for my own shows, well, I've been very, very occupied with my new career, brought to me by RED. Thank you. I've shot some things here and there, but as a one man band I haven't worked out my own flow. I'm VERY inspired by Mr. Gibby and his various set ups, even envious of his tenacity, work ethic and physical stamina. Whether I am blessed with a Tattoo or an Epic X, I will be carrying it with me EVERYWHERE. This camera is my Bolex replacement, that I know already. THAT is something that will change my life again. As for me, art is the food of the soul. If I am blessed to be chosen as a beta tester, I will take FULL advantage of my privilege. As would my brother, Gregor. And “The Red Baron”. And many others. It will see a wide variety of situations and set ups; from one man band to small indie shoots to full blown union jobs, even if it is side by side with the Red ONE as a test or additional camera.
Mr. Jannard, and the astounding Dream Team you've assembled around you, for now, the past 3 years and into the future, thanks for listening.
pretty much what Jason Wingrove said in his podcast, that no one used the original cam for high profile videos till it was stable enough and he felt it safe enough to do so...but still at his own risk... (something along those lines)
