Shawn Booth

Currently in Los Angeles

RED 300 is original issue body, used twice. Perfect condition. $3000 RED 50-150 zoom is also in great condition. $7000

1200 HMI Par single light source Diffusion provided solely by wooden vertical slats that made the wall off camera left.

If you have to shoot faster than 60 fps, 2K. Since you're projecting it use REDCODE 36, not 28. Shoot 23.98 as opposed to 24. Stay in REDLOG once you're in REDCINE or RED ALERT!. Have a fun shoot.

You might want to read this as well: http://www.reduser.net/forum/showthread.php?t=15615

This was posted today by Jim concerning "Wanted": http://www.reduser.net/forum/showthread.php?t=15572 "There seems to be some confusion about RED on "Wanted" even though I posted the following a couple of weeks ago. During production, we were told that some RED footage (from pre-production prototypes) would be used in the movie so we added "Wanted" to "Shot on RED" on red.com. As soon as we heard that would not be the case, we pulled "Wanted" from our website. It is not necessary for us to take credit for things we aren't doing. We have plenty of good news to talk about. This is my earlier post: "RED was on the "Wanted" set last summer to "see how it would do". The RED ONE prototype (several months before our 1st shipment) was shot sparingly but in several different setups. Everyone seemed very happy with the footage. In fact, Timur bought a RED camera (and paid for it and took delivery when his number came up). So did Jon Farhat (VFX supervisor). At that time the workflow was not smooth with their Avid system and I suspect that integrating some token RED footage would have been a courtesy they did not have time for. This is entirely speculation on my part. Maybe they couldn't find an appropriate "add film grain" filter? :-) I am anxious to see the movie. It looked like it would be very interesting. They had a great DP (Mitch Amundsen), great talent and Timur has a very unusual vision that I think will translate wonderfully to the final cut. We had a terrific time learning on this set and the 1st AC (Todd Schlopy) gave us tremendous guidance on setting our camera up and features we needed to add. We looked at this movie as an opportunity to learn and prove that the footage could stand up next to film. I think everyone on the set will agree we succeeded. Several members of the "Wanted" crew, in addition to Timur and Farhat, ordered cameras." I would also add that at one point during the production, Jon Farhat did a filmout comparison between RED footage and the film footage. According to Jon, no one could tell which was which... until Chunky Richmond noticed the aspect ratio difference."

Or try www.reduser.net and look here: http://www.reduser.net/forum/forumdisplay.php?f=22 or here: http://www.reduser.net/forum/showthread.php?t=581

Look up Anders Holck http://www.reduser.net/forum/member.php?u=117 He's a steadicam op and RED owner/operator.

Jayson - thanks so much for sharing! Quick note - you said you would leave the EVF at the rental company next time and get 2 LCDs. Problem is you can't run two LCDs at the same time on the camera. Tried that while I waited for my EVF. I can't see why you don't like it, but everyone has their own prefs.

Joe - If I could offer any assistance with your workflow, please allow me. I won't attack you.

I just burned a DVD of a music video we shot on RED. I used RedCine to create UC10bitters, edited and then exported from FCS using Compressor, burned the disc in DVDSP. Zero problems. This time. First time I tried it (on another video) I have artifacts all over the place, especially in the blacks.

Just want to point out that RED Raid drives haven't shipped yet. Red drives have, I have four myself, but the solid state raids have not yet shipped.

No, you're just really defensive. I wasn't attacking you - ever. Your posted reply to me was a defensive response. And as you stated here, you weren't a serious bidder. Null point on your end. And it's not about being cool, just proud that I post my serial number.

Uh, no. How you inferred that is beyond me. I'm simply saying it's more intuitive, easier to use. It's solid. Like a mac. I really loved working with ARRI's and a few Panavisions, but the RED just works better for myself. As far as the ebay listing, if you reread the posts here and on reduser.net concerning it, you will find that the seller refuses to divulge the serial number. He has also posted this auction once before under a different name. There has been one or two REDs stolen already.

Just my opinion here (and yes, I am a RED owner, a "REDhead" and literally a red head) - I have worked in the industry, in Hollywood, on everything from music videos to commercials, to feature films and TV. I have worked with big name cinematographers to wanna-bes. I have done this for the last nine years and on a wide variety of camera systems. Love 35mm. But after using the RED, I will never use anything else again. It is like switching from a PC to mac. Again, just my opinion.

It has also been suggested to go from 1080 > 720 before dropping down to SD.

Curious, why not shoot 4K? For playback purposes, you should shoot 2:1 wether you're shooting 4K or 3K or 2K. How far along are you in the show? In post (even on set) you can use RedCine or RedAlert! to output your 16x9/1.85 image.

Sucks that you feel this way about the red forum, but I do understand. You will find though that it is rather easy to "ask" and actually meet up with some of us who own cameras. And some of us owner/operators are actually experienced, union professionals... as well as fan boys. It really sucks that RED is being met with such apprehension, but in all honesty, the camera rocks. I can't see myself going back to anything else. And I love ARRI's. If you ever make it to Hawai'i, feel free to look me up.

Because of his attitude toward anything not film. This was a few years ago when I worked for him, but he was very firm about everything worth wild having to be shot on film. He's an amazing DP, tons of talent. Was happy to see he gave the RED a chance and that he found it to be everything that it is.

My bad - will do next time. I just figured since I was posting under the RED section of this forum, those reading would have known where to go. But you're correct, it is good etiquette.

You can use almost any lens out there with the RED. It comes standard with a PL mount, which can be swapped for other mount types.

A DP is a DP regardless of the camera they use. I had been reading some of the other RED threads here and found a few posters who wanted to hear from "actual DP's". I just wanted to point them in the direction. There are respected DP's out there using this camera system and a couple talked about it with RED. Nothing more.

Check out RED's home page, bottom right corner. Interviews. Hope this helps with those of you looking to hear from real DP's about the RED. I can say, I know/have worked for one of those who are interviewed. I was amazed he embraced the RED. But I'm also amazed how many haven't.

The RED footage looks like it's still in the RAW format.

Thanks Chuck for posting the results. The RED is just a tool folks. Stop hating on it. You are not accomplishing anything positive replying to this thread with your comments about Revenge of the Nerds/ hope my competitors all use REDs... But thanks for stopping by none-the-less.