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Jim Jannard

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Everything posted by Jim Jannard

  1. Jim Jannard

    I feel burned.

    Good try... Maybe we should ask Tim Tyler. Jim
  2. Jim Jannard

    I feel burned.

    This board has not been friendly to RED, as you have probably noticed. What I have issue with is people that have been unreasonably harsh with RED for no good reason. If there is constructive criticism, we listen. Jim
  3. Jim Jannard

    I feel burned.

    Let's see... James Murdoch and Keith Walters have the same IP. Keith Walters lives with Mary Murdoch. I guess I just don't get it... The only reason I know is because of the threats I got from IBC. Jim
  4. Jim Jannard

    I feel burned.

    Keith... you started out here as James Murdoch. You stated personally to me that you "would take us down, no matter what" after a few online jousts. What motivates you to keep this up? Jim
  5. The "Reel" was a compilation of shots from trained professional to kids shooting their 1st stuff with a PL mount lens. Since you were not there, and Stephen was... Of course we show the best stuff available to us at the time. That is all any cinematographer does. You think he wants to show you the missed exposures, out of focus shots? This real shows what can be done, and has been done with the RED ONE. Whether or not someone is capable of doing this good of work is up to them. All this shows is that the tool is capable. Two years ago, many of you thought it would not (be capable). The important difference here between our reel and whatever the Genesis was... is every piece of footage shown was submitted by our customers from real jobs or tests. We had nothing to do with any of the images shown... except to be proud of them. Jim
  6. 3K has 2.25 times more resolution than 2K at 16:9, 4K has 4 times the resolution of 2K. One thing that we faced was having just enough 4K to choose from for the reel and not very much 2K submitted. Grading has almost everything to do with the color you saw. There is no color difference between 2K, 3K and 4K from the camera's standpoint. Jim
  7. While we have come a long way in the past year, we have many more things to do to improve our program. We have been humbled by the complexity and difficulty of building a camera of this nature from ground zero. Our bravado represented our passion. Our newly found humility represents the reality of getting this far and realizing how much more work we have to do. It is great to hear that you liked the footage. Your opinion carries a lot of weight. But rather than revel in your comment, we accept it only as further encouragement to continue to improve all areas of our program. Jim
  8. Stephen... the date on that post was Dec. 2005, a day or two after the "decision" was made to do this project. At that time, there were two of us on the RED team, Ted and I. There were three emails addresses at that time... 4K@red.com was one of them and designated as the "general" company email address. Very early in 2006, that email address was assigned to Joanne. So anything coming after Feb 2006 would have been from her. We were pretty busy at that time designing, engineering and prototyping the camera... and getting ready for our 1st NAB... that there probably wasn't enough supervision of what responses were made from that address. No excuses, just the way it was. BTW, if there is a physical address listed for RED Digital somewhere, it is not my home address... and if you call the RED phone number, I am not the one designated to answer the call. Your posts seem more and more pointed at finding some discrepancy in my presentation than actually contributing to useful info about RED. I don't quite get it. You are a smart guy with plenty to offer. We communicate behind the scenes. If you have questions or inferences like this one, they could easily be cleared up in a quick email rather than forcing me to post clarifications on this board. If I don't respond to your post, then I must be lying about 4K@red.com. Not sure why you feel it is necessary to do this. Jim
  9. It is pretty funny that there is so much disbelief about what we do at RED... but only by the people that have never visited the operation. Why not stop speculating and come by...? I think the picture you have now would change dramatically. Jim
  10. The Mysterium sensor was/is a fresh sheet of paper design owned and fabbed exclusively for RED. We did NOT buy an existing product or sensor design from any of the companies known for sensor sales and productions... IBM, Canon, Sony, Dalsa, Micron, Fill Factory... whatever. If we had, you would have seen the same sensor in some other camera! We have full-time sensor development staff at RED working on Mysterium X and the next generation sensor after that. The fact that you guys continue to push this button is scary. It sounds like you are saying "you can't do this". My response would be, "what I am hearing you say is that YOU can do it or don't know anyone that can. That doesn't mean we can't do it". Of course we need help from 3rd parties on almost everything we make... as does every camera company. Do you really think that Canon makes every single component of their lenses, including the glass? Do you think Sony makes their own capacitors? Jim
  11. Since you have no reply to my response to your 1st allegation, you cleverly change the topic. But again, wrong. We have been adding options to the camera that reduce the compression. If you want to take advantage of the increased data rate, you need faster media... with me so far? If you want to shoot the lowest data rate and the smallest format, no problem. Buy yours at K Mart. I now assume that you will slide over to some other topic? Your comments here remind me of your 1st posts... RED can't make their own sensor. We go way back... Jim
  12. Phil... another time you are calling us liars. Of course we did. You won't find this card with these specs from another supplier. If we could have bought them from Lexar, SanDisk or some other easy supplier, we would have. The RED 8GB cards now say "Powered by Lexar" on them. It is no secret. The 16GB cards do not. I do believe your second comment... just not sure who the stupid one is. You are pretty brave behind your little mouse. Jim
  13. Joe... don't forget to put you hand to your forehead. I answered your question 1 hour and 20 minutes after you posted (on a Saturday). As for the info that Stephen has offered, we do not have a 32GB RED CF card option. Our 16GB card will be released in a couple of weeks. This may be a safe haven for a RED user? :-) Jim
  14. Matthew... I would always use a separate audio source for recording audio for a major (film) production. Just like I would a film camera. But I would not hesitate using audio in Build 16 if necessary. We have improved audio in the RED ONE just like we have improved everything else... but we still have a ways to go to be equal with an off camera audio solution. Now let me ask you this with "all sincerity"... would you say the RED ONE is not ready for "prime time"? Jim
  15. Not sure what you are talking about here... the only time we ever heard about ice packs was the 1st day of Soderbergh's shoot with prototypes last year. As for "everyone in Seattle", who exactly are you talking about? Do you have a name? We only have positive feedback from our Seattle customers. It sounds to me like you have year old info... but I'm certainly open to new info that can be traced to someone real. There are currently over 20 features being shot on RED and a major network TV series has just switched to RED. There are countless commercials and music videos being shot on RED. As for a major audio dropout/interruption problem that "no one seems to have reported"... it must not be a very major problem... or they would have reported it. No? Jim
  16. Film is great. I/we/RED has never questioned that. RED is an alternative to film (now saying this for the 3rd time)... and it seems like a reasonable one. Spinning drives suck. We all know that. They work 98.5% of the time and then they don't. This is no big secret. You don't have to be Matthew (with his degree) or Ray Charles to see this one. That is why people shooting serious projects on RED are all shooting to Compact Flash. We hope to release our Flash Drives shortly... along with a 16GB CF card. In the near future no one will need a spinning drive for RED, or anything else for that matter. Jim
  17. On the commercial side, the following are now being shot on RED. Jaguar Toyota Mazda Nissan Gatorade Target 7-11 Subway Allstate Also... "Manure"- David Mullen starring Billy Bob Thornton plus several more that we have been told we cannot mention yet. Jim
  18. There are many in production (remember we just started shipping 8 months ago). "Guerrilla"- Steven Soderbergh starring Benecio del Toro- completed "The Argentine"- Steven Soderbergh starring Benecio del Toro- completed "The Informant"- Steven Soderbergh starring Matt Damon- in production "Beyond a Reasonable Doubt"- Peter Hyams starring Michael Douglas- in production "The Game"- Neveldine and Taylor starring Gerard Butler- in post production "Crank 2" Neveldine and Taylor starring Jason Stratham- filming "Knowing"- Alex Proyas starring Nicholas Cage- post production "District 9"- Neill Blomkamp- in production parts of : "Jumper"- Doug Liman starring Hayden Christensen- released For those that discount this one, please watch Doug Liman's interview on red.com many more that are prepping and several I'm forgetting. Jim
  19. Stephen regularly visits reduser, so I hope not! ;) Jim
  20. Stephen... using a film-based ISO/exposure methodology to side by side test a digital camera vs. film is just not valid (which appears to be exactly what you did). Conversely, using a histogram approach on a digital camera to get the correct exposure... translated to the film camera doesn't work either. But no one is using that methodology to do these tests. Only the 1st one. The proper way is to independently set exposure for film and digital the way each needs. We, and others, have tried to force an ISO number on all digital cameras, because the industry "thinks this way"... when really, that is not the way they work best. Again, see Macgregor's post on RU. It is the approach I posted, no so elegantly, over a year ago. Everyone is trying so hard to make these tests fair by doing everything the same... including setting exposure. If you use traditional film thinking, the digital will not show it's best face. I think Keith pointed this out a few days ago. Part of what makes build 16 so interesting is the fact that it re-addresses this disparity between film and digital ISO/exposure methodologies. RED does not have the same amount of latitude as film. We never claimed that. But it does have more than reported here. You just need to know how to get the most by knowing the difference in exposure and process methods. If this board spent more time talking about subjects like this... Jim
  21. Now who is talking gibberish? Jim
  22. This is getting past silly. 4K is a capture resolution. 4096x2304 (16:9) with a single sensor, Bayer pattern. 4K is an output resolution. 4096x2304 (16:9) which are the file sizes we generate. We have acknowledged that actual resolution is about 3.2K. This number has been independently verified several times and results posted on CML, among other places. Which you have seen. If you make a 4K scan from film, is it not a 4K capture and 4K file? Even though the most resolution we can find acknowledged from any studio is 3.2K on slow film and less than 3K from fast film? You have no right to call us liars. You have no justification to do so. We have absolute justification for the above. This sounds more and more like a personal problem. Get some help. Jim
  23. Jim Jannard

    Only fair...

    Since we took such a beating on the Claudio Miranda situation a few months ago, I think it is only fair to update this forum with the following news. Offhollywood is proud to provide Red cameras and support for Claudio Miranda on a RADICAL MEDIA project for American Express being directed by Antony Hoffman. We were told that a number of camera systems were considered, and one of the reasons Claudio chose to shoot on the Red was so the crew could move fast under extremely rugged conditions. They are shooting NY, then Buenos Aires, Ushuala, Phuket and Hong Kong with Red #006X (Elvis) & Red #007X (Mr. Bond) with the latest Element Technica accessories. They are also testing some early RED RAM prototypes. I know we have detractors here. If anything, you should know that we are working 24/7 to make our project better every day. Jim
  24. This is not my email address... your point? Jim
  25. Jim Jannard

    Epic 5k

    Lots of mis-information here. 1. Epic is about $40K and is due early 2009. It is a ground up sensor, board and body design, including ASICs this time. 2. If RED ONE owners want to upgrade to Epic, they can. Full $17,500 credit. But they certainly don't have to. 3. The RED ONE gets a sensor upgrade in 2009 to the new second generation specs. Cost TBD. Certainly reasonable. RED ONE will be in the line-up for years. 4. RED is in business to put professional tools in the hands of many. And it is not a charitable organization. The power of the "and" and the curse of the "or". They are not mutually exclusive. RED is profitable today. Hope that is OK with you... 5. 2nd generation sensors (Epic and RED ONE upgrade) have increased DNR and significantly lower read-reset times. 6. Stephen... everything about Epic is upgradeable. That shouldn't surprise you or alarm you. Nothing is wrong with our current mount. But we also know that everything can be made better. We are just fully prepared for that eventuality. Jim
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