Mr. Shannon W. Rawls

Ahhhh, my good friend Tomas. We meet again. *smile* I didn't start a fight. it was 3 pages of it before I even got here. Actually, the entire RED forum seems to be a cyber ultimate fihghting championship ring....with Jim Jannard being the man to beat. *smile* So Tom, what do you think of the aesthetic design of the red and its cage? ---------------- Hi Matt, I've heard of you. Can't think of where, but I've heard of you somewhere. Maybe I've seen some of your work or you were the 'talk' of a round table discussion of people/producers praising your skills. Whe I think of it I'll let you know.

When lying becomes part of someones point because they have nothing else to say....the discussion is over.

Am I? As I search back to page 1, i see the very 1st post happens to be yours. I re-read the post *just to be safe*, and you have a lot of nerve calling 'me' an instigator? The very title of this thread you created is untactful and borderline flame. I think they should listen to CONSTRUCTIVE crtisizm, not public bashing about how their design team 'slapped' someting together and continuous discord about how the 'big companies' got it right and Red is wrong with their cumbersome and weakly designed rail system. Da hell?? If you think someone breath stinks, do you go shouting it to the crowd and pointing fingers at them laughing. or do you provide them with your tactful and respectful opinion on how they can improve the smell of their breath and maybe offer them a tic-tac? C'mon man, please voice your concern, but be professional about it.

If it ain't one thing it's another. So now we're discussing the design. So now the cage is the new problem......OK, well, I shoot on average 2 indie projects per month. This is what I do for a living. It's not a hobby. So if you ask me.....and that's only if you're asking.... The "CAGED" idea is kinda revolutionary. Some of you make it seem like the red camera will have to be stripped down to pieces before you make a move. The DP, Camera Op & AC are one of the most efficient crewmembers I have ever seen. Asside from the DP collaborating with the Director and the Gaffer for the 'look' of the next shot, the camera department will be snacking @ craft services eating cookies while waiting on the G&E department who will surely NOT be 'ready'. In the INDIE WORLD, I have never seen the 'camera' deparment to be the last ones to setup a shot based on the design of the camera rig. It's always Grip & Electric, Art, Wardrobe, Makeup or the actors themselves that's the hold up. So why is this even a discussion topic? I could see if this was a BOX style studio camera head trying to pass as a cinema style indie camcorder, but it's not. The reason I say it's revolutionary is because, I can't see it slowing down my 'setup' times anymore then my Canon XL-H1's already do or my 'many' other cameras before did. If the difference between going from sticks to handheld to a dolly and then back to a tripod on a red system vs. my XL-H1 system is only a few extra seconds, then Pshhhhh, whatever. The benefit however is the fact that I can confidentaly mount accesories anywhere I want on that red cage whereas on my current camera, all I get as a hotshoe (since the backplate is being used by a battery system). My CURRENT DILEMA with the XL-H1 (and similar style cameras) is the fact that I want to mount a Marshall 8" HD-SDI monitor on the hotshoe. And as you all know that is a scary thought, because all day long I am 'worrying' if the hotshoe will snap off due to the size & weight of the monitor. Alternatives to the hotshoe is $costly$ and cumbersome. Isreli arms are big and require extra mounting gear. What about a place to put "two" wireless radio receivers to get reference from the mixer as well? What about adding a light as well? How about slapping on a Direct-To-Edit recorder like a firestore? MAN, by the time I get all this on my XL-H1, it'll have a "CAGE" of its own. *smile* However with the RED cage, I can mount these accesories with ease and LEAVE 'EM THERE. All I would need to do is simply store the camera system differently in my equipment cage @ my studio and transport it in an accomodating roadie case. I realize a design like the red cage is something most shooters are not used to. But neither was the odd size of your Treo 650 cellphone until you realized all that it can do. The benefits outweighed the size, and it looked 'cool' so you adapted. I am sure you will adopt to this new Cage style camera. Now if you want to film your little nephews birthday or maybe capture your daughter' graduation ceremony, then red and it's cage system may not be the camera for you. if you are on the Serengeti Plains in a camouflage tent and you witness a pair of wild Lions preparing to mate and all you have is a few seconds to setup the shot before their finished then red and it's cage system may not be the camera for you. If you are chasing Brad & Angelina around trying to get the first video footage of their upcoming wedding, then red and it's cage system may not be the camera for you. But if you are a competent and confident motion picture professional with experience and knowledge and you properly engage in pre-production planning and then I am sure the cage will be a blessing to your workflow, not a curse. I'm curious what people thought about Stationwagons when they were first introduced back in the day. *smile* I wonder if they complained about it not fitting in the garage or didn't buy one because they were scared to parrallel park the thing. This thread seems to be another one of those threads that the people at red will vindicate themselves with in the end, but you all will forget to 'apologize' when it's all worked out. instead you will find something else to complain about.

It's like a witchhunt. Why can't everybody just let the company do their thing. Kickback and enjoy the footage?

What an awesome location. You lucky summamariches!!! *smile* I pray it turns out well, that you entertain many and that you guys make millions and millions of dollars on this project. Good luck!

Actually, Michael, I think you are the 1st in the world to ever use that combination. It seems you have just completed the first project using pro HD cameras that are at the extreme opposites on the scale of resolution. *smile* With Viper probably being the best in resolution and the HVX200 probably being the worst in resolution, we are anxiously awaiting your finished outcome. Please document your workflow process and report back to us. If it all works out and looks great, you may have just demystified the measurebator talk on "what camera is best" for this or that! *smile*

The monitor that looks dark is probably adjusting for 7.5IRE on the inputs. Most us televisions do. All DV & HD footage is 0IRE. Make sure your studio tv/monitor is calibrated.

Jim, why do you bother to answer some of these guys? I mean, they'll ask a question, you'll answer it, then they ask the same question again a different way. Your polite, they're rude. They praise film like a religion, to that you say 'to each his own', but then they bash you for saying it. It's crazy, i'm sitting here reading through the posts in the RED forum to catch up on RED talk, and it's amazing to see these dudes chasing you with pitchforks and torches. It makes me think they are hired/paid to torment your efforts by big companies who want to see you fail. The the killer is.....when you checkmate they're a$$ because months ago they said you wouldn't be able to do something, that you've just done; you would think they would congratulate you for doing what they said you couldnt do. BUT NO...instead, they find a loophole to wiggle out of the apology and move on to find something else to diss you about. To me, it's very reminiscent of racism, and I hate looking at it. I just had to speak on it. JJ, keep it moving man. I won't be at IBC, but I hve people who will. ROCK ON.

George, I can feel the heat coming from Jamie's computer. *smile* The reason he's pissed, is because you're question is so basic, that it indicates that you hve done absolutely no research on your own. instead, you just registered an account and asked a question. Please, do some research on your own and you will realize that tape can't record 80% of the formats and speeds this camera can do. So it's silly to compare the two. I could answer your question, but that's contributing to the welfare system , and I don't beleive in it. Also if I answer then you will likely just ask another obvious question without doing any investigation on your own. Instead, I encourage you to get up and do some work and learn your questions by 'reading' the thousands of places and reviews on the internet about the HVX200 and how it works. Good luck.

Brad, I'm not sure, but I think I may have been one of them *smile*. If I was, I'm sorry because you sure put my foot in my mouth. If I wasn't...then, I'm apologizing for those that did. *sile*

Read more here: http://www.xlcinema.com/cinematic/showthread.php?t=1099

Brad, Canon has answered your concerns.... http://www.xlcinema.com/cinematic/showthread.php?t=1099

Al, Check this out: http://www.xlcinema.com/cinematic/showthread.php?t=1084

Sorry Mike, No camera on Earth has component video inputs. Your only option is to purchase a deck. And the lowest priced deck that accepts component input for HD is about $14,000.00 or so.

Timecode will not be affected. The camera has a small 'watch battery' style battery in it that will run the TOD timecode for months with the camera off if need be. This little battery is recharged everytime you put a main camera battery on your camera or use the AC adapter with the camera. You will be all good. I hope that helps,

to answer your question Jason.......I havent met anyone who has used this adapter. i too would like to see some results or read a report on this mechanical unit. I emailed the company to work a barter, but didn't get a response.

Agreed

Unless of course you shoot 1080i60, and separate the fields into frames which gives you 60p and playback @ 24p which is even smoother slow motion then 48p (depending on your % of slowdown. However, please note that the HVX does this quickly & instantly and allows you to skip 1 of the 2-step process to achieve this. Also please note that the resolution will be halved if you go the 1080i60 route, but will more then likely be equivalent or exceed both test chart and perceivable resolution of the hvx200 if you use a camera like the Sony F900 or Canon XL-H1 or Sony F330.

Sweet slow motion! I like, I like....

Excusme me PT3, But your scripty was over capturing footage on a computer while you were busy shooting? Wow, some scripty you had. What's his/her number, I'd like to hire that Super-Scripty! They must be a master at watching continuity and logging shots without being there. Plus, doesn't 4 minutes of footage take at least 4 minutes to transfer to computer from P2? So theorhetically, your "scripty" spent just as much time transfering footage on set as you would have had to do in realtime with tape in post. Heck, you could have just had a deck on set and did the same thing. *smile* Not to mention the added attention to detail and resources used while shooting as fast as you claim you were....which brings me to my next question.... 70-80 tapes worth?? in 5 days??? with only 3 cameras???? Gee wiz, are you guys robots? *smile* That caculates to 5-6 hours of footage per camera per day (@ only 10 hours days). Now I ain't saying you're lying or that's imposible, but I have never heard of that before...espeically with THREE cameras and one of them on a JIB! As a matter of fact....1.2 terrabytes of DVCPROHD would only take 30 tapes...and that's assuming you filled up the full 1.2 TB of hard drive space, which I doubt you did. And unless you had THREE separate computer workstations on set, each system decicated to one camera, then your "scripty" must NEVER have been on set because that means footage was constantly being transferred to computer....even holding up the shoot since it takes at least 12 minutes to capture 3 single 4gig P2 cards, but only 4 minutes to make them from 3 cameras. But since you already said you only had 1 computer system on set, then I cannot see....in this world or the next....how what you say is true. Apparently you really like P2, and that's fine and all......but PT3.......let's keep it real. *smile* Especially with this being your first post here @ cinematography.com.

David, I didn't realize you DP'd Shadowboxer. Wow, we are closer then you think. *smile* I'll explain in a PM. Good job!

Touche' David! Touche' *smile* The question still stands to many: "I wonder how Sony got away with calling the XDCAMHD a 24p camera?" Oh well, none of it really matters these days anymore. So long as your footage is gorgeous.

*raising my hand* Yes, that would be me. Tested & verified! *standing up* Hello everyone, my name is Shannon Rawls. I've seen with my own two eyes on an HD monitor using both cameras side-by-side on a test chart & in a real world shooting environment. The Canon's 1080f24 is infact 'better' then the JVC's 720p24 in terms of actual 'and' perceived resolution & sharpness. errr ummm Thank you. *sitting down*

Shaun, I bet Phil can answer that easier if you defined what you mean by "better"... Ergonomics? Resolution? Image Control? Final Image Quality? Ease of use? Which 'better' is most important to you at this point?