Matthew Rogers

I just did a test on 1 minute of "average" close up footage (subject from chest to head with shallow depth of field) and got fairly similar results in all codecs. My machine (which is far more beastly than the avg computer) is a 2.8Ghz 8 core MacPro with 10 GB's RAM and a 2.7 TB RAID-5. On avg I got about 4-7 FPS out of RedCine with 4k 2:1 footage set to Full Rez, with the processing and quality set to full/max. As far as I know, that is the max settings you can export footage out of RedCine at. So a 1 minute clip, depending on the codec, was taking 7-9 minutes. Of course, RedCine was only using 450% to 550% of my processor time--so it wasn't using as much as my MacPro has to offer. That said, 1/2 Rez high looks fantastic in 1080P...yes full rez decode looks a little better but you've got to get your face up close to the screen to see the difference (or maybe my eyes are worse than I thought!) Matthew

Just FYI for those of you who don't make it over to Reduser. Build 16 is no longer beta and all RED's now ship with it pre-installed. The only codec issues I ever had with build 16 were not build 16 failing--my RED Drive needed some tweaking and couldn't keep up with data rate required for what I was shooting. I actually just shot a short film with some stuff that should have error'ed, but I didn't have a single error during the 4 day shoot. BTW David, I'm really digging these stills. Matthew

Thanks for that info. I now see what you are talking about. It seems like that might be okay, but I really rather have a bag more like the portabrace bags. I did find this bag (http://www.amazon.com/DEWALT-D6100-Heavy-Ballistic-Nylon/dp/B000051WT0/ref=pd_cp_hi_3?pf_rd_p=413863601&pf_rd_s=center-41&pf_rd_t=201&pf_rd_i=B0012QRXWO&pf_rd_m=ATVPDKIKX0DER&pf_rd_r=1Y0BJJ3SE4261G2Q5APG) What I'd like to do is take the shoulder strap and sling over the handles on my magliner so I can keep the bag with the camera cart. I think this bag (though slightly smaller) will work better than the boss bag. What do you think? Matthew

Do you know if this bag has a top to it? It looks like in the picture it has a zipper all the way around the top but I don't see anything about a top being included. An AC I just worked with had a big portabrace bag that was great (I love portabrace), but considering they list for $200 and this bag is $40, I can't really spend that much extra for nothing more in reality. Matthew

What about JVC? http://pro.jvc.com/prof/attributes/feature...el_id=MDL101396 Supports 1080P and for an extra $3k you can get an HD-SDI card (so total around $6k I believe.) Matthew

Then, I'd say that it's your monitor. It looks great on my monitor. Matthew

Do you have an early camera or something? My focus hook is all metal--screw and focus hook. If you are looking at pictures it might look like plastic (and if they are old pictures it might have actually been plastic.) And to double confirm this I just went and clicked it with my teeth....and it is metal. Matthew

I would suggest that you DON'T wrap a space blanket over the camera while it is on. The camera will for sure overheat as a space blanket is designed to keep the heat in. Of course, you might have meant to flag a space blanket 2-4 feet above the camera. Airflow is the key for taking heat off the camera. The more air moving over the top of the camera the cooler it will be. I pretty much find that if I want a flag over me, then a flag should be over my RED also. Of course, I have yet to have my RED overheat outside yet. Matthew

I recently got a FilmTools Junior cart with the larger tires on the topside instead of the little casters, and I love the cart. It's very well made and seems like a truck could run over it with very little damage to it. I'm not fitting a ton of cases on it, but I can get two Pelican 1620's, and a couple of other smaller pelican cases on it. FilmTools also sells a senior sized cart, but for me the junior is just the right size. I can prep my RED on the top and still have plenty of room for cases underneath. With the 24" top and shipping my cart was just under $900 I believe (which after my first shoot with it, I knew it was worth way more than I paid!) Matthew

Depending on how slow you need it, I would actually suggest shooting 3k at 60fps. It cuts better when looking at it on my 24" LCD. Of course, everything I've seen on big 1080 TV's, the 4k and 2k cuts pretty seamless. As for 2.35, I believe there is guide you can turn on in the camera for framing. I would just frame accordingly and crop it in post (gives you wiggle room too.) Matthew

It feels like maybe the shutter speed was slightly higher then 1/50. I know it was shot at 25 fps, but it doesn't look like there is much motion blur. To me, it doesn't feel choppy as much as crisp like a higher shutter speed. Matthew

Well, considering that Jim said RED went out and had their 16 GB cards specially made... The RED 16GB cards are also many times more expensive then other somewhat fast 16 GB cards. Matthew

Sorry that you were treated that way by a FEW people at Reduser. I believe the issue the people had was that this info IS there at Reduser, but you have to search for it. I actually already answered a similar question this week on another post there. It just gets tiring answering the same old questions when people are not reading the FAQ's on the forum. Always try using google to search sites by search like this "search term site:reduser.net" And Stephen was partly wrong about the 32 GB CF cards. The actual cards RED had developed are 16 GB cards and not 32 GB cards. Since they had to have them specially made, I am guessing that 32 GB CF cards are a long time coming:( Of course, flash technology is changing every month. Matthew

It's really the same system for every other HD camera. Use an AJA converter to take HD-SDI down to composite or component video. It's easy to rig up the converter and adds very little weight. Matthew

Why would the EX1 not be higher quality? It's native 1920x1080P with a 1/2" sensor. The HVX is a 3+" year old 960x720 1/3" sensor that uses pixel shifting technology to not even get full 720P. Yes, you get 4:2:2, but I think the resolution gain alone will provide a better picture considering EX1's 4:2:0. I would say if you shot the same exact thing, the difference you could tell each other from would not be the color--it would be sharpness. The biggest question I would have, is "what are you shooting?!" If you are shooting mostly greenscreen then you probably should be shooting on a bigger camera any way. If you are shooting interviews, landscapes, etc. then the EX1 should look much better then the HVX. I know personally that I have gotten much sharper, and better color out of my JVC 110U (HDV 6 frame GOP) camera then I have on a HVX. That said, much of what you can pull out of a camera depends on the operator and a TON on your editor/colorist. Matthew

Nothing special...just paid with a CC when I ordered. Both Modern and Norms give a 25% discount when you paid on order (or really on shipping.) I saved over $1600 on list price by that. Most of their gear is really reasonable (and actually cheaper then Norms) when you add the discount. Matthew

Actually, I just bought a brand new set from Modern Studio for $993. Considering that the local case company is very reasonable and make cases for all sorts of much more delicate and harder to protect things, I am not worried about that. I looked at the case for the porta-glide and I think the issue with it is the only used 1/4" plywood. I will probably have it made with 1/2" plywood. If that still costs too much, I have a source for all the parts and I can make it myself for about $300 (that's because I already have a complete shop with tools) I am positive that I can get a case made that will be as good if not better for less money. If you look at Matthews other stuff, it's overpriced when compared to Modern Studio, America Grip, or Norms. Matthew

Ouch. I believe I had seen that before. Surely I can have one made for less then that. I love it when cases for items cost as much or more then the actual item! Matthew

Hey guys, I was wondering if someone could tell me the interior size for a case that fit the Modern Studio U-Channel Skater Wheels. The cases I've always worked with has a center plywood divider and the u-channels rotate 90o horizontally to fit in the case (so the case is wide, but not very tall.) If anyone knows where I could buy a pre-made case designed for them, that would be great. Otherwise, I am going to have one made here locally. Thanks, Matthew Rogers

I was saying that it's a crew that knew what they were doing. This would be some of the same crew that is lighting the Hanna Montana movie--so if that sucks you'll know it's the crew;) And yes, it is Dolly's park. I did a shoot a few years ago with her for the park and I really couldn't believe that someone with a waist so small could have a chest so big! Matthew

I don't know about your Aussie ad, but I saw an spot for Dollywood here in Knoxville (it's an amusement park) that I am pretty sure was shot on RED. Either they didn't light it correctly (doubtful knowing the crew they probably had), didn't know how to grade it, or most likely, the local station just butchered the broadcast. I didn't mind some of the blown out highlights in the background (looked natural) but the blown out skin on the people's faces did NOT look good at all. Plus, it was really soft when compared other spots (even stuff shot in SD.) Matthew

Here's the thing. If there was some way to make a backup of film on set, I'm sure the insurance companies would REQUIRE you to do so. However, there is not, so they cannot require it. Yet, for the RED it is very simple to make backups throughout the day. In fact, the RED should give you WAY more security then film because you should be able to walk out with as many backups as you want at the end of the day. Film you can't do that. Most video tapes you can't do that. Only with flash/hard drive based media can you do that. Ideally, this is where the RED Flash Drive comes in with no moving parts. Red is hoping to start shipping them late this summer. It's really like making sure you don't have a rip in your film changing tent or making sure the cans are sealed properly. Matthew

He was also foolish to not fully research the camera's media, or hire someone who already knew and could fill him in on the specs. I don't see why it's RED (the company) fault that he did not understand the system and therefore not properly backup his data. I don't see any problem in the system that I paid alot of money for. Every system has it's limits/faults and you need to know what they are before you shoot on it. I know that I need to backup my hard drive throughout the day or shoot with enough CF cards to get me through the day. I feel sorry for the guy, but he should have done more research before he shot on the RED. My question is why are you bias against people who like the RED? Is there something wrong about being excited about cool new technology? I understand there are a few who are loud that get most Redusers a bad name, but I believe there are also some similar people here. RED may not have the DR of film yet, but it's getting closer, and in two years has made a pretty big revolution because of price and quality. Matthew

Do you not normally run line level out from your mixer? I've yet to use any broadcast camera that I would use the phantom power or mic level unless I really have to. For me, I run everything through my MixPre and then line level into my RED or other camera. I would think on most productions that it would be odd to use anything BUT line level. Matthew

Actually, why I got confused is because for some reason I understood microphone input as XLR input and not "mic level" input as they actually meant. What I would like to see is for SoundDevices to test multiple RED's to make sure that it wasn't just the one they tested. I'm also wondering if they tested with the new Mini-XLR--because I know that makes a difference with phantom power. Matthew