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Jim Jannard

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Posts posted by Jim Jannard

  1. I think you need to hire better detectives.

     

    When all the earlier garbage was going on I used a PC at work with a networked IP based in Melbourne, I also regularly used to use a MAC at a house where I used to babysit and they had a ADSL connection on Optus, and my home ADSL account is on Telstra Big Pond, which only has about 500,000 subscribers in Sydney.

     

    But apparently they had "proof positive" that all these people's accounts originated on "my" computer?

     

    IBC? I've never been anywhere near IBC. The only time I've ever set foot anywhere in mainland Europe was a stopover in Germany in 1992.

    Give me a break; I couldn't even be bothered going to SMPTE in Sydney last year.

     

    Who the hell is Mary Murdoch?

     

    My 84 year old mother in law's name is Maria, but her last name is definitely not Murdoch.

    My dog's name is Patsy, and as far as I know she doesn't have a last name.

    Apart from my wife, whose name is not Mary either, the only other inhabitants are a couple of fruit bats who keep knocking off the plums from my tree down the back. I don't know what their names are.

     

    Where do you get your information. The FBI?

     

    I think you should ask for your money back :P

     

    Good try...

     

    Maybe we should ask Tim Tyler.

     

    Jim

  2. Dear Mr. Jannard,

    As I see you are currently online, I'd like to address this plea to you directly. Please use your power and influence to discourage your followers and supporters from coming to this forum for no other reason than to leave posts that are aimed primarily toward antagonizing the members of this forum, making personal attacks, and provoking endless fights. It doesn't reflect well on you or your company, and is responsible for so much of the bad blood directed toward your products which, in the absence of such posts, would probably not even exist. As you obviously have great influence over most of those leaving these posts, I'm sure you could go a long way toward putting this to a stop with very little effort. It would no doubt contribute to a far more positive image of your cameras and your company, which would no doubt be good for business.

    Regards.

     

    D. Goulder

     

    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. "Frankly I think the main motivation behind this whole Raw Panacea business starts and stops with people being being asked to explain why all those video cameras DIDN'T produce results "better than film";)"

     

     

     

    First of all you seem to be taking my statement about RAW as a criticism of the RED.

    That was not what I intended.

     

    I was merely commenting on the excessive optimism of certain people expecting that the availability some sort of "aftermarket" colour decoding is going to overcome the very real deficiencies of silicon sensors. My position is generally that if the captured exposure from a silicon sensor is compromised to the point where a camera's own electronics can't salvage it, no amount of afterburner software massaging is ever going to recover it.

     

    Which is not the case with film.

     

    Phil Rhodes is the one who keeps pointing out that REDCode Raw is not "really" RAW, I was just pointing out that that is probably not really what REDCode RAW was developed for, rather that it's just a convenient means of compression that also allows an offboard PC to do the bulk of the decoding work.

     

    Sorry if you don't like my analysis, but I'm not a fanboy. How I see it is pretty much how the industry generally sees it.

    Reality 101. Where's the beef and all that.

     

    As for: 'You stated personally to me that you "would take us down, no matter what", after a few online jousts.'

     

    Where did you get that from? I have never made any such statement to you or anyone, personally or otherwise.

     

    As far as I am aware the closest proximity I have ever been to you was when you visited Masterton New Zealand some time back. (Which in itself was somewhat freaky, since I used to live there just on 30 years ago).

     

    There was a post made some time back by Jim Murdoch (his first name is not James by the way) which makes some joke to the effect of: "Oh yeah, right, by talking on this forum I'm going to verbally sabotage Jannard's magnificant scheme". (This was in conjunction with a number of threats of actual physical violence to Murdoch from other posters by the way). And also, by the way, before you had ever demonstrated any working hardware...

     

    You keep insisting I made the post in question, but even it had been, read in context, it does not contain any threat to you. I can dig up the the link and put it on here if you want, (plus a lot of related documentation:-).

     

    I certainly don't want you to fail, but that does not mean I think you are going to succeed either.

     

    Because, I am not a Fanboy. I guess I'm not the sort of person you'd want to be seated next to on a 12 hour plane trip. I can deal with that.

     

    What motivates me?

    Hmmm. You have all the information you need. I guess you just don't get it.

     

    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. Frankly I think the main motivation behind this whole Raw Panacea business starts and stops with people being being asked to explain why all those video cameras DIDN'T produce results "better than film";)

     

    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. Reminds me of Panavision's Allen Davidau-shot Genesis test footage, shot on a closed set with security guards and only shown in a few relatively inaccessible locations. People raved about the quality of that, even though Davidau was not one one of them :lol:

     

    Well, it's like they say: "If you want to know what it would be like to be married to a girl, watch how she talks to her little brother...."

     

    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. Hi,

     

    The second time I viewed the demo, I felt I could tell which shots were 2k, 3k & 4k. The 3K & 4K I am very happy with. 2k seems to have less color information as well as quite low resoloution. I don't really understand why I dont like the colors, I am just saying what I saw with my own eyes.

     

    Stephen

     

    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. Hi Everybody,

     

    Last year during IBC I made my first very positive comments on Red images, after seeing "Crossing the Line". The improvement since then are truly unbelievable with regards to skin tones & dynamic range. The resolution in wide establishing shots is truely unbelievable. The Red one camera when used by a talented cinematographer, posting at a world class facility & viewed using a 4k Sony projector does produce excellent results.

     

    I am looking forward to seeing Epic footage next year, my only negative comment is high speed 2k resolution sticks out, clearly having less resolution & less color fidelity. I get the feeling 3k cuts without issue so Scarlet footage could be good enough for many applications.

     

    Exciting times,

     

    Stephen

     

    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. Hi Jim,

     

    This is the first post you made here!

     

    My best

     

    Stephen

     

    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. Hi Jim,

     

    Are you saying Red designed & manufactured the sensor entirely with employees of RED Digital Cinema Camera Company without any help from third parties or taking over an existing project?

     

    Stephen

     

    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

  10. Arguing with Jannard is clearly pointless.

     

    The thing everyone's overlooking here is that given the large amount of compression they're applying, the cards don't particularly need to have a spec that's in any way out of the ordinary - unless they just want to stop people using third party equipment.

     

    P

     

    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

  11. > Well, considering that Jim said RED went out and had their 16 GB cards specially made...

     

    Of course he bloody didn't.

     

    Good grief these people are stupid.

     

    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

  12. 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

  13. Jim, I ask you this with all sincerity...would you recommend using the RED camera audio for a major production shoot or would you recommend using a seperate audio source or only using RED audio for scratch track?

     

    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

  14. There is also a major audio dropout/interruption problem with the RED that no one seems to have reported. Each time the camera shuts down due to overheating or one of the host of other "reboot" problems there is a corresponding loss of audio equal to the amount of time the camera is down or rebooting.

     

    Let get real here people...from my experience and from what I've read EVERYWHERE on sound newsgroups this is NOT a camera ready for prime time production. Every single person that I've spoken with who has shot with RED in Seattle has reported some sort of anomaly and or MAJOR difficulty. Guys shooting with ice packs on the body etc etc. It's a beta test plain and simple. I'm betting RED will make it sooner or later, but I'm also betting that if you put a current RED in a time capsule for a year or two and pulled it back out, not one of you would want to use it for a shoot.

     

    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

  15. 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

  16. 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

  17. 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

  18. Hi Jim,

     

    Don't be fooled, there are many people who have used or tested your camera, I think they may be waiting to test Build 16 or Epic before premature thoughts of retiring from the industry.

     

    I have not published my recent Kodak or Fuji tests, so why should I comment on Red in public? I gave you some feedback in reply to an email you sent me today, feel free to share.

     

    Stephen

     

    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

  19. Careful, Emmanuel. When you get excited you start blundering into Plain English again :lol:

     

    I know Jim Murdoch's old account has my name in it in the personal profile. But he didn't put that there and neither did I. Someone hacked into our email accounts and presumably used those to get into our cinematography.com accounts by requesting new passwords. Whoever it was put in my personal details, stolen out of my gmail account. I was able to recover my gmail and cinematography.com accounts, he was not so fortunate.

     

    Meanwhile somebody made a bogus and totally ridiculous post here, using Murdoch's account where "I" supposedly apologize to a variety of people for my hurtful remarks. The thread was immediately removed by the moderators here, but not before I got a copy of it.

     

    The style in it is written is VERY interesting, as is some of the information in it, which could NOT have come out of my email account. :rolleyes:

     

    Now who is talking gibberish?

     

    Jim

  20. > But everyone who matters knew what "4K" meant in this context.

     

    Yes. It means "2K", only with additional lying.

     

    P

     

    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

  21. 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

  22. Not specifically Reduser, but they all eat at the same cafeteria:

     

    Scene 4 take 1 a-n-n-n-nd... Action!

     

    emailob9.gif

     

    So does this mean? Jannard didn't write it? WTF did?!!

     

    This is not my email address... your point?

     

    Jim

  23. 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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