well that's just fantastic....

[Michael Pyon]

Starting my 2nd year at NYU and we're forced to use the school's new shipment of Sony FS100's leaving my Scarlet to dust in my dorm room. Says an F would be given to students using different equipment..... hehehehehehhe

 

[Ketch Rossi]

Classic corporate buy outs forcing their crappy equipment o schools to whom they give some cash in exchange of exclusivity, such an insane sac of S^%@#...

Well, the FREE Film School at KETCH ROSSi TREE of LiFE will use ONLY EPIC and SCARLET, so I guess I'll be also forcing the same products on to our students, but it will be a little better gear, and it will be provided by us to the students for FREE...

 

[Kwan Khan]

Starting my 2nd year at NYU and we're forced to use the school's new shipment of Sony FS100's leaving my Scarlet to dust in my dorm room. Says an F would be given to students using different equipment..... hehehehehehhe

NYU? Good bless you (on your loan- lol)
I Studied at NYU Tisch, Drop-out 2004. The Best Decision I've Ever Made (This applies only to film school)

 

[BRANDON JAMESON]

NYU alumnus here too.

 

[Zakaree Sandberg]

film school/college


OUCH

 

[Elsie N]

Haven't been to one, but I bet you could learn more of what you need to know in Reducation in a shorter time and for less money. But I'm speaking of two things I'm unfamiliar with... Reducation and Film School.

 

[Ari Davidson]

Sounds like your school is educating you very well on how the business works

 

[Hrvoje Simic]

Starting my 2nd year at NYU and we're forced to use the school's new shipment of Sony FS100's leaving my Scarlet to dust in my dorm room.

Learning requires a challenge.

 

[Mark Phelan]

Not a problem. Many professors want to even the playing field to help students learn and cope with equipment outside of their comfort zone. It's actually a good thing in my opinion. Sort of like the IROC, everyone has to use the same car, same setup. I remember having to use a TLR in school, which I found to be quaint and yet fun. I think everyone should have the chance to use older equipment, something like a Speed Graphic, to help them develop beyond themselves.

It's not the same as when you get to use your own gear, but you'll reap benefits from doing so.

 

[Michael Dalton]

Starting my 2nd year at NYU and we're forced to use the school's new shipment of Sony FS100's leaving my Scarlet to dust in my dorm room. Says an F would be given to students using different equipment..... hehehehehehhe

You should have a school arbitrator look at, if you send them a letter (not an email) you can force the issue to be handle by a commity. Check your student handbook, and see if it was stipulated before you signed, joined the school. They likely can't force this on you. If you argue that goes against the freedom of choice, creativity, and that it send the wrong message when the school sells out to a corporation and forces a student use THAT product. However for the kids that don't have a scarlet, it's nice that Sony provides them with decent gear.

 

[Elsie N]

... leaving my Scarlet to dust in my dorm room. ...

Do you have dorm room insurance?

 

[M Most]

Haven't been to one, but I bet you could learn more of what you need to know in Reducation in a shorter time and for less money. But I'm speaking of two things I'm unfamiliar with... Reducation and Film School.

Well, perhaps, if your career ambitions are limited to being a camera assist using only Red cameras. If your ambitions are a bit higher than that - oh, say, to be an a cinematographer, a writer, a production designer, or a director - you know, an artist - you might really want a bit more education in the arts, art history, music, architecture, design, color theory, and the work of the masters in fields like theater and film. And some experience with other cameras.

Just a thought.

 

[Elsie N]

Well, perhaps, if your career ambitions are limited to being a camera assist using only Red cameras. If your ambitions are a bit higher than that - oh, say, to be an a cinematographer, a writer, a production designer, or a director - you know, an artist - you might really want a bit more education in the arts, art history, music, architecture, design, color theory, and the work of the masters in fields like theater and film. And some experience with other cameras.

Just a thought.

Well, actually my ambitions are being fulfilled as an Epic (and only Epic) cameraman, writer, production designer? WTF is that? I just choose locations, figure out my camera positions, sometimes on the fly, choose my time base, fps, ETTR, yell ACTION! to myself after bringing up the picture on my director's monitors (pointed toward where I'll be standing) for each Epic and check for sound through all headphones, and then punching each Redmote to start the cameras rolling. And when I fill a Redmag, I go to my DIT station with two notebooks and offload one or both Redmags to their respective notebook. And while I'm waiting for fresh Redmags I hand out drinks and snacks to cast and crew (me) before setting up for my next shot.

(Got one really challenging shot coming up where I have to shoot straight down and slightly in front of the talent as she is bouncing a volleyball or soccer ball on the ground, and then have it simply stop like it was a cannon ball, i.e., not bounce back... whereas the talent then looks straight up into the camera as though she's looking up to the heavens. I think I can pull this off with two Little Giant ladders with Work Plank scaffolding setup over the talent. The ball stopping thing should be no problem.)

Of course, after I've got everything in the can, then I become editor, colorist, and even a hint at being a vfx-er. And later, if Red will get off their asses and get the RedRay thing out in the wild, maybe then I will become a distributor.:lurk5:


Mikes anticipated answer to the above: ut:

 

[BRANDON JAMESON]

Well, perhaps, if your career ambitions are limited to being a camera assist using only Red cameras. If your ambitions are a bit higher than that - oh, say, to be an a cinematographer, a writer, a production designer, or a director - you know, an artist - you might really want a bit more education in the arts, art history, music, architecture, design, color theory, and the work of the masters in fields like theater and film. And some experience with other cameras.

Just a thought.

+1, absolutely.

 

[Bob Gundu]

Hopefully school will teach you more that just how to operate a camera. Operating a RED camera is much easier than learning to be a filmmaker. For me, school was getting in the way of my education.

 

[Elsie N]

Hopefully school will teach you more that just how to operate a camera. Operating a RED camera is much easier than learning to be a filmmaker. For me, school was getting in the way of my education.

+1, absolutely.

 

[Glen Powell]

Everything I learned about film started in the back of an equipment cube, then hard work through all the departments on set - learning at the hands of people who had been doing it their entire lives. Ground up education with large amounts of humility, learning how little I knew.

Still learn something on every shoot.

 

[Edward Blythe]

I went to Columbia and wasted a lot of energy trying to get the school to do things differently. They won't wanna know and they'll get pissy at you for telling them.

What you're getting for those enormous loans is TIME - to learn, to f__k up, to find the thing that only you can do. Your time will be much better spent focussing on your work, your Story, your reel, your creative relationships and your education inside & outside the classroom.

Put your energy into the storytelling aspects - camera choice means WAY LESS to this than we happy Red owners like to think...

Have fun and remember that your degree counts for sweet F.A. without good work (and even then it doesn't count for much out in the world).

ps. GO LIONS

 

[Jaakko Rinne]

I went to Columbia and wasted a lot of energy trying to get the school to do things differently. They won't wanna know and they'll get pissy at you for telling them.

I went to a school where students actually managed to change things. We wrote a manifesto on everything that was wrong with the media programme and people actually got off their asses and fixed many of the problems. ...and a couple of years after that the school shut down the whole media and communication programme after it was just starting to actually work.

What you're getting for those enormous loans is TIME - to learn, to f__k up, to find the thing that only you can do.

This is very true. In school you can fuck up with relatively minor consequences. On a real job you can end your or someone else's career.

 

[Glen Powell]

This is very true. In school you can fuck up with relatively minor consequences. On a real job you can end your or someone else's career.

I've seen more than one Film School grad screw up badly on set - mostly it would seem because film school film sets and real world film sets are different animals; and for some that certain air of "I graduated film school and shouldn't need to start with schlepping sand bags and C stands".

Just my experience.