Matthew Rogers

I'm sorry Walter, I like you, but I believe your wrong here. I own a DVX100A and a JVC 110U, and have shot on a HVX200 and a Varicam. On the 100A and 110U I will get artifacts on the edge of red objects/clothes/etc. With the HVX200 and Varicam, I have never gotten those artifacts. When the 100A and 110U are downcoverting the uncompressed data to 4:2:0 or 4:1:1 it has to throw away too much of the data (very crucial data!) to get it down to size. One way I've found to limit the artifacts is to turn the red channel down in those cameras--when the red is too saturated that's when it's the worst. If you took raw footage from a couple of different cameras, I bet there are many of us here who could tell you what cameras they came from. Matthew PS. If anyone wants to see food greenscreen footage from a JVC110U (the 200 series should greenscreen MUCH better) then go to http://www.macvilleproductions.com/portfolio/portfolio.html and look at the "Petros" spots.

Actually, if you are like me, one of the reasons for shooting such high resolution is that you get to use very nice cine lenses. They are going to be sharper, color rendition is going to be better, and you get a shallow depth of field easier. Plus, there's the fact that 4k downsampled to SD is going to look beautiful. In reality, it's all about having options. Matthew

Hummm....I'm confused...they say they are shipping on Augest 31st, and today is the 27th...so why are you asking if anyone has feedback yet on it?! If you started this thread on the 31st, that would have been reasonable... Matthew

So do you know how much the Arco costs? Or is it rental only like Fisher? Matthew

Actually, if you would read, you'd know that the HDMI is 720P and there are dual link HD-SDI connections for full, uncompressed 1080P 4:4:4 output. That may not be RAW output like from the Viper, but still darn good. Use the search feature at reduser, you can find out all sorts of information. Matthew

The reason your posts have probably not been answered at reduser is they have already been answered there before. But I will go ahead and answer what I can. To get your image out of the camera you have a couple of different ways. First way, shoot to Hard Drive/Compact Flash/Express Card and then plug those into your computer to copy the footage to use. From there you can basic color correct RAW footage and then convert it into another codec for editing. Second way, either use single HD-SDI/Dual HD-SDI/or HDMI to connect to a tape based recorder. I imagine most people who do this are going to choose HDCAM as their record format. Lastly, RAW Port. You'll hook special cable up to the RAW Port and then hook it up to a VERY large raid since the data rate is 700+ MB's a second (I think I read that you'll need 16 drives min to get enough speed.) As far as we've been told, delivery is still supposed to start the end of August. Unless they find a big problem in the next 2 weeks, I believe, they will be shipping on time. No clue about the FPLA chip. There's been alot of talk of frame rate over there that's really confusing. Personally, if they can't do 60P in 4k, then I rather have 60P+ in 1080 scaled from 4k instead of 2k cropped with a higher frame rate. I am going to be working in a max of 1080 unless I do some work for a movie or theater commercial. (Actually, the last theater commercial I delivered wanted 720P DVCPROHD.) I wanna say that the De-Bayer happens in post "developing" if you shoot RAW. It was also said the other day that you can used some REDCODE Mini app to quickly add a wrapper to the footage which makes it viewable in Quicktime player. True, it seems like the work flow is no longer shoot, plug in the hard drive, and edit. However, it's still quicker than getting film developed, telecined, and shipped back. My work flow right now for HDV is digest either off tape or hard drive and then transcode to a better editing codec (last project used ProRes, worked nicely!) If you want more questions cleared up, just ask and I'll try and answer the. Matthew

Can you read? No one said this report was from the first day of shooting. Only that this is the *first* problem. The RED is far more complex technology and requires FAR more processing power. Stephen also justly pointed out that SONY's 900's will overheat. Why is that happening with a SHIPPING camera? Beside, he said that it was the OLD sensor design, not the new one which was supposed to have the Peltier cooling on it anyhow. This just confirmed that it needed it. Heating a room up to 110 isn't going to tell you actual working conditions. Direct sunlight & humidity make a huge difference. Give them a break. It's a friggin pre-release camera! Matthew

So I came across http://www.premierstudioequipment.com today, and I am really interested in their dolly's. Their prices are really good I feel for what you get. However, what do you all think of them? I was looking at the PD-1 first because it's a $1,000 cheaper than the PUP100. However, the PUP100 with it's hydraulic boom and other features seems like a much better deal for only a little more money. Also, does anyone know why they stopped making the Cameleon? Thanks, Matthew Rogers

I would like you all to take a look at my reel: http://www.macvilleproductions.com/matthewrogersreel.mov Tell me what's good and bad. Thanks, Matthew Rogers