Anders Holmstrand

This is a very valid business consideration. Anyone who has been around since the early 90's knows how significantly the landscape has shifted for owner-operators. The low-end cameras chipped away at the corporate market and, now, the RED may very well chip away at those who have invested in higher end cameras. You are correct that it's a mixed blessing. I, for one, look forward to using the RED on narrative projects despite a potentially reduced rate. But don't forget that when markets shift drastically and processes and tools become commoditized, there will always be a narrow niche for talented individuals who use the tools in ways that transcend basic technology. The RED will flood the market with shooters who have supremely high quality cameras but they will not make every one of those shooters a great DP. It takes time to learn the craft, no matter how advanced your tools may be.

Thank you for the responses. I hope they keep coming... At the moment, it seems the HDX-900 would be the best way to go for me since it allows my to record to tape as well as Firestore (even given the mechanical issues with the latter). What I don't get is P2 and the new ACV-1 codec Mitch mentioned. How much of a compromise do you feel that is, from a qualitative standpoint? Also, given the popularity of the SDX-900, are you seeing traction in the marketplace for the HDX-900 or HVX-2000? I get calls for them occasionally but they have not caught on yet comparably. Do any of you think they will? Not the degree that Beta-SP did (we live in a changed world) but to a degree that would make one of the top 5? Finally, the jury is out on whether RED will be a popular ENG camera. I know they offer an ENG mount option but 1) it's overkill and 2) the camera is not, at the moment, ergonomically suitable for 12 hour off the shoulder shoots. I tried at NAB and would much prefer a traditional design to the RED for shoulder shooting. Any thoughts would, again, be appreciated.

As P2 and other new technologies have emerged, buying a camera package that can be widely used by clients has become a much more difficult proposition than it was during the Beta SP era when a camera paid for itself multiple times over. Case in point: The HDX-900 vs. the HVX-2000. The former records to tape in wide variety of specs and the latter records to P2 in an even wider variety of specs. Not requiring a $22K deck gives the financial advantage to the HVX-2000. Having a tape backup gives the safety advantage to HDX-900 - at least as far as most producer's perceptions are concerned. Which way will this break? Looking forward to feedback.

Brilliant, Keith - well written and very entertaining! Even, somehow, convincing...if not also depressing.... I still have high hopes for RED and think Jannard is a real peach for even trying.

Thanks Phil - I was speaking with a vendor a few days ago who mentioned that Sony is under a lot of pressure to come up with a more affordable HD/24p broadcast camera and that it may be announced at NAB. We will see... Anders

Thank you both for your insight. It will certainly help with this decision. Any more thoughts out there will be appreciated. Anders

Hello all - I'm posting this query in hopes of some good business advice. I am being asked to work in HD on a project that has, until now, been shooting on Beta SP. The job will put a dent in the cost of an F-900 but won't cover it all, by any stretch. Does anyone have a sense of what the long term viability of this $150,000 camera system might be? Is it becoming the workhorse of the industry for HD acquisition? Might it have a 3 year lifespan for profitable work that is technically up to par? Is it the new D-600, which one could pay for 10 times over? Will it replace Beta SP? I realize some of these questions are subjective - please use them as starting points only. I am shooting in so many formats these days that I'm understandably on the fence about this large a purchase. Then again, I hate to blow $1000 day on a rental that could go toward buying one for myself. Any thoughts out there from working DP's who understand the exigencies of planning in dollar terms - as well as creative terms? Thanks - Anders

Thanks Mitch - I spoke with a tech house and they suspected just what you've indicated here, so perhaps the first diagnosis I got was wrong - which may be my good fortune. I will run the tests that you've suggested. Much appreciated.

I have posted this request elsewhere, but, given the number of people here who seem extremely knowledgeable regarding 16mm cameras, can anyone recommend an East Coast service technician or repair facility? I have an Aaton LTR that is misbehaving a bit and want someone who comes recommended to take a look at it. Thanks all - Anders

A recent test of my LTR produced the following results: The registration appeared steady but within the frame the image seemed to ride up and double expose just a bit - horizontally. This problem appeared intermittently. It was suggested that the shutter and pulldown claw might be out of sync. The possibility of a loop error did not seem likely. The camera seemed to perform very well otherwise and came to me in beautiful cosmetic condition. When this problem was not occuring, the images were sharp and the exposure was very accurate, even with the auto exposure meter. Before I send this camera somewhere and incur repair costs, might anyone have an idea as to what might be going wrong? Can the problem be diagnosed by looking at the film? If not, can anyone please recommend a highly qualified, honest and reasonably priced service facility for this camera. Any other suggestions or thoughts will be appreciated as well. Thanks all - Anders