Michael Schrengohst

Hello David, Thanks for the report....I want to see that show when it comes to DVD...we are wraping up an edit for a 5 screen plasma show, all shot with the HVX....yes HDV does not compare.

Interesting, I will have to look into that....

Please check out some other forums and posts about the post end of RED. The RED creators have aknowledged they need to figure our a way to get REDCINE to other editors/post houses and other non-RED owners for the RED to have a greater impact. If you shoot film you could still in theory edit the film with razor blades if you need to. You want to see that film on an electronic display device you could transfer to a codec that your favorite editor uses. I am currently shooting with an HVX and P2. There are still detractors that cannot understand how you could shoot with a camera that can only record 4-10 minutes on a Flash card. FCP has a pretty good workflow for the HVX now. But you want to edit HVX footage on Vegas or Premiere?? It's possible but has workflow limitations. I think you can edit SI camera footage using Cineform and Premiere, what if I wanted to edit that footage with FCP.... On most productions the shooting may last one day or many months...the editing and post is where the most time is spent and this is the area that is the most intriguing when it come to the RED. So even if RED has surpassed 35MM film they must still be able to get the footage in some usable format for the greatest number of editors to use.

Yes, a Bolex in any situation is good for shots you cannot achieve with video... I owned two Bolex's, one still sits on a shelf....not used much after I acquired the HVX200. However, if you have never shot film don't be shocked by the costs....it is expensive....film+processing+transfer=lots of money..... and if you need audio with that............

I agree....However DVCAM is not HD and HDV if handled with experience can garner some nice images.....Panasonic just announced some new small consumer HD cams 90 min of footage on a small 4 gig flash card....

Because they are interlaced....for the most part....I have had to work with both from time to time.....Not bad systems if you are staying in the TV/DVD world.... going to film, another story....film is progressive... shooting progressive at 24p will save you many headaches in the long run....ask about tape to film transfer at www.dvfilm.com.....Marcus can point you in the right direction.

Wow, too much too reply to.... But, what is your budget constraint?? Are you funding this?? You mentioned editing...are you doing the editing? What is your system set for?? Distribution?? Do you have a distributor? Are you hoping to get one?? Here is what I WOULD NOT DO..... I WOULD NOT SHOOT HDV..... I WOULD NOT SHOOT DVCAM.... I WOULD NOT SHOOT INTERLACED AT ALL. PERIOD. Not that I have stopped screaming...... Please do a search on this subject, been talked to death.... The odds are against you....getting this sold at all.... Out of the thousands of flicks screened at sundance I think 2 or 3 actually get distributed...... Plus I would consult an entertainment lawyer for a least a few hours ($400 - $500 per hour) before buying plane tickets to Libya. Good Luck

At least they have broached the subject about REDCINE being available for non-RED owners.....

Chris, I have asked the guys at RED about the availability of REDCODE, REDCINE for non-RED owners. I have not received a clear concise answer. They keep referring to their charts and 12 bit vs. 10 bit.

Hello Robert, Practice - I rarely have the luxury of shooting with any monitor....most of the stuff I shoot is run & gun......after years of BetaSP shooting and then using the DVX you get a feel for what is going on and how the video will look. The HVX does have a "spot" meter and along with the zebras I get fairly accurate exposures.....Having a monitor on a shoot is great but it must be set-up in a proper viewing environment.....You must look at each scene and tweak the camera settings for the best results. I have a basic setting I like and then go from there....and don't be afraid to experiment with pedestal, white balance settings...... I have my own HVX and have used and rented others as well and the look between cameras is very consistent.

Sure, you can bare bones anything. I have a set-up like that....cost a little more than your quoting. You would need more than a 23" monitor. A feature usually takes 4-12 weeks of editing. Depending on the situation I doubt many shooters have that kind of time to devote to post. And this part is what will get you in the weeds real fast. So you buy your $30,000 tricked out red, spend $15,000 for bare bones edit system and then spend one month shooting your epic with of course highly paid professional actors.....then spend 4 months editing the epic and one month on audio.....you wake up the day of the premiere 6 months later - $100,000 in debt and no one shows up for the premiere......Don't laugh - this has happened over and over with several of my friends over the years.....One friend now in his mid-forties still struggling in LA still trying to pay back people for his failed film 20 years ago.....Wow - now this sounds like a good film to make.

Hello Chris, the audio is one area that many shooters, producers neglect....I have spent more time on audio on certain projects than we did the video. Imagine a Lord of the Rings with bad audio. And the hard drive figures you quoted are for storage after the fact.....to shoot a feature you will need multiple RED drives or whatever they come up with.....I cannot imagine those units could just be hooked up to an edit bay....same as P2, the info will need to be transferred to hard drives fast enough to edit at least HD on. G raid drives At least this to start $1700 for 1000 gigs.....and you would probably need 2 to edit. You would need to think about your multiple versions needed.....English, Spanish at least....sub-title versions....the HD DVD versions? It's not just one 90-120 minute feature you deliver....I am working on a little 10 minute HD video now, English, Spanish, A version that will be projected over 5 50" plasma screens....that is 70 min of finished videos....All of this is just fitting on a 300 gig G-raid......

You are getting close....I think your edit bay will cost more like $20,000 to be usable. Don't forget audio? Surround 7.1 monitoring alone will cost 3-5K. Most video editors seem to gloss over the audio aspects. And working in your spare bedroom will only work to a point. You will probably still need a dedicated sound studio doing the final mix. And nothing is future proof. in a few years that $20,000 edit bay is worth 2K.....I had one of the first full DigiSuites and thought I was future proof. $40,000 I spent and 4 years later I parted the system out for $1500....... And 2K worth of drives for a feature? it will be more like 6K once you consider back-ups, duplicates for audio post and effects people. And the final that will be sent for either digital or film prints...... So sure you can buy all this stuff....believe me I have plenty of experience....But it will be the scripts that you decide to shoot and the actors you hire that will make or break your investment in all of your new toys.

I guess if the Professional colorist wants to work out of his/her house I guess so?? I have "worked" out of my house for years but I am getting ready to move back to an office. At a certain point customers/clients will not come to your house. Too many great competitive companies who have expresso machines in the office. Now you can get an office to have a homey atmosphere but it is very difficult to project a professional atmosphere at home no matter how great you have made your home office. The real money to be made will be in the editing/grading process. I hope RED sells 10,000 cameras.....at some point all that RED footage will have to be processed.

What you are experiencing is a combination of several properties.... I have seen great footage coming out of the HVX and some not so great footage as well.... Some timelapse shooters use DSLR's for their work and the idea of using a larger sensor like RED is doing will make for better images if shot and lit properly....it will still come down to the photographer.... Having a larger sensor will make no difference if the content is not there or shooters think that magic will happen if a different camera is in their hands. And the real challenge will still be delivery.....we are just now getting some shows output as transport 1080 streams for viewing in the real world.

No I do not think those are actual "products". What are you trying to achieve??? With an HVX shooting HD try these settings: Any settings not listed are 0 OPERATION TYPE: Film Cam FRAME RATE: Default (Try shooting 720 24pN with a P2 card to start) SYNCRO SCAN: 200.0d Detail: +2 Detail Coring: +2 Chroma Level: +2 Master Ped: -4 Gamma: Cine Like V Matrix: Norm V detail Freq: Thin These settings should get you started, tailor them for specific results.....

That is the real issue.....the issue that many fail to realize and think technology will be the silver bullitt. I was talking with an agency producer who wanted a "name star" that is acting in a network show.... The producer was talking about shooting with this camera or that camera and how he wanted to shoot, edit and deliver HD....I said that is the easy part, there are many ways to accomplish that....we found out the name star will do a year buyout for only - $125,000....

JarRED

Jonathan, Check out www.MotionZoneHD.com Lots of stock footage shot with the HVX. Check out some of the user profiles, many shooters lensing spots with the HVX.

What happened to the hot chicks?

Maybe they should change the website name to REDUser.com?

It's all about boys and their toys. I remember the fanfare and roll-out to the HVX200.... I have used every format from 1/2" Black & White to 35MM film..... I have produced several projects with rented VariCam equipment and the HVX200 was the next logical step to get into affordable HD.The HVX for most of what I do NOW is totally up to the task......I will look at RED when it comes out.....I am shooting timelapse with a Nikon D-200 now and yes having the resolution of a large image is great. It looks like there will be plenty of RED owners who will be anxious to prove it's capabilities. I just went from SD editing to HD editing and could not be happier with the results. Of course all the deliverables are still SD. I have a few bleeding edge projects that are shooting for an HD deliverable. I doubt all the RED owners will spring for a 4K edit set-up but that will follow in LA and NYC first. It will be interesting to see how RED distributes a compatible REDCODE codec for use in todays edit systems.

Hello, Some fellow shooters suggested I find out what is going on over here. I have a stock footage site and the HVX200 is the camera being used by 90% of the shooters on my site.... They are really tweaking on the camera to deliver some great footage. I shoot a few projects here and there but devote most of my time to the site. So I don't get banned here, you all can come visit us and I would be more than happy to answer your questions!