Brian Drysdale

It depends how the camera is set up. On some recent tests I did shooting on HDV with the HD 100 the Standard gamma was around 200 ASA and Cine around 125 ASA. Both had manual knee setups (plus a few other changes from the factory set up) and I used my old G & D Cinematography chart in combination with the zebras (60 to 70%), so I wouldn't say it's as accurate has using a waveform monitor. On one test report I read that the HD 100 is around a stop faster when shooting DV. I haven't tested this, but could be of interest to those wanting to use the camera mostly on MiniDV. I wouldn't use the exposure meter to determine the final exposure, only to set the lights. For smaller stuff, as Phil says you don't need a meter, only for more complex lighting rigs is a meter useful. Even then I'd have a walk through with the camera to fine tune the f stop or adjust some lights. Working by eye works extremely well.

Showreel ran a tests comparing various 35mm adapters on the HDV cameras. Seems the M2 fits in front of the stock lens creating an inverted image (The HD 200 should handle that problem), but it got a positive review.

This is getting BORING!! You should go out and make a movie or do something creative.

The consumer connectors might be OK as a cost saving exercise on domestic camcorders, but this is extremely important on professional equipment. Even the BNC connectors on the DSR 570 are not as robust as those found on the more expensive cameras and tend to break off more easily. Like all high tech projects it's the team that's important. The fact that Jim Jannard has a vision for enabling a 4k at a lower price is fine. There are companies doing the same for 2k (with working prototypes) who are getting overlooked in the hype. The important thing for success in a venture like this is that he has the both the financial resources and the R & D team in place to do so. With all this rush to the market and the hype, one thing that could result is a camera with a lot of bugs. JVC had problems with the early production HD100s which took a few months to clear; with a new radical camera like RED the early customers shouldn't beta testing it. It's not a luxury that you can afford in this business.

Different makes and types of lenses have different lens flare characteristics. Zoom lenses with their large number of elements will flare a lot more than prime lenses. The older Angenieux zoom lenses will flare a lot, the Zeiss zooms less so, although the T3 10-100 had a triangular flare effect. Anamorphic have horizontal flares. How much flare you get will also depend on the focal length setting on the zoom. For example. one Canon 2/3" video zoom has a big nasty flare at the long end of its range whenever a hot light is in shot. Modern high quality prime lenses won't flare that much. If you want to shoot a hot light with miminal flare that's the way to go.

One thing that all hi tech projects seem to have in common , even companies with decades of experience in an area, is schedule slippage. Some people online seem to be quoting RED's schedule as if it's written in stone. All the dates quoted is at the moment are hopes. If RED is prepared to continue hammering away with a rock hammer regardless of the set backs and keep the project funded then it could happen. However, on the information I've seen so far, I would count it as a risky project. On the surface, it's main advantage seems to be that it has funding, as against other risky projects like the DeLoran motor car, which didn't. BTW Is time travel going to a feature on RED? There are a few things I'd like to change.

Just about to say the same thing.

You should get hands on feed back from various grades of camera people. The focus puller/1st assistant is key because they have to work with the kit and assemble it. The ergonomics are extremely important, it's a big failing on the Canon XLH1. You should have a format that can operate on a number of editing systems during post production. There are currently formats on cameras that are not really fully supported. You need a robust recording system that production insurers are confident in. What the lower end of the market will live with may not be what you'd want to use on a higher budget production with more at risk.

Most directors I know want to have a monitor, even for the most basic stuff.

It could be a typo for Digital 8 http://en.wikipedia.org/wiki/8_mm_video_format

Interesting that the Silicon Imaging SI-1920HDVR $20k HD camera received the Mario Award at NAB that recognizes manufacturer's products which represent significant technical breakthroughs. RED has won an award for presentation. I suspect RED had to get in early because they were aware that other manufacturers were ahead of them in the hardware front and by going hard on the marketing this year they could get reservations on RED before the other cameras got established in the market.

A pinhole would help.

The price of $5k for the 300mm is around the normal price for that type of lens. Not being on the shoulder for hand held work will be a problem for what already weighs 7lbs without a lens, flash memory/hard drive or battery (12v ?). So, if I was shooting docs this isn't the camera I'd go for. Looking at what seems to be just the sensor unit, they're planning a modular system. However, if you're wanting to put a serious production package together it's going to cost a lot more than this base price. Price wise there are a number of HD cameras in that range, it's big selling point is the 35mm chip. That really increases the cost of the lenses and on low budget films it could be the limiting factor. There are a couple of $20K cameras which do exist and would make more sense for a film with limited budget. The cameras would also be more versatile for other types of work. There's also the new, less stylish looking SI camera, which does exist and would make great sense and you have the choice of all the Super 16 film lenses. In the higher end picture quality is everything, it has to stand up against cameras that are going for the highest dynamic range etc. Specs on the page mean nothing, it's the images that will count. It'll be interesting to see what they do with it, assuming it goes into production. I'm sure it'll have its place. However, it's not what the hype makes it out to be.

Check out http://www.dvinfo.net/conf/forumdisplay.php?f=98 They've done a lot of tests on the W/A lens and have user feedback & scene files. I've done some tests on the camera, it's really nice to use and a friend (a former BBC cameraman) who had a Canon XL1 bought the HD 100 and thinks it's great. The V/F goes B & W when you use the focus assist - except for the blue "in focus" . The menus give you lots of options and I was surprised how well the knee held highlights. Looking at the tests on DVinfo the better quality lens makes a big difference.

Don't think any of the HDV cameras would match 35mm. You can only get 24p & 25P on the Panasonic and the JVC prosumer cameras. Why not shoot with a Aaton Minima using slow film stock?

The Silicon Imaging camera does exist, unlike the RED. People will be getting a chance to test and play with the new Silicon Imaging camera at NAB and it's in the sub $20k the price range that people are discussing. You can also use Super 16 lenses on it. The Infinity also looks like an interesting camera with JPEG 2000.

The Dalsa is the only 4k camera at the moment. The Viper is 2k.

Looks great, when are posting a picture of the camera itself?

I shot a short that has been transferred to 35mm using the Cinevator. The 35mm print had a soft look (rather like Super 16 without grain), so I wouldn't want to add diffusion when using the Cinevator, unless I wanted to create an effect in the highlights. I had the detail switched off on the F900 and no filters. BTW Nice looking pictures if you need a few 35mm prints without the cost of a DI. The B & W titles were sharp looking.

The stock should be OK for docs, but the quality does seem to vary from lens to lens. Unfortunately, they don't let you pick out your own lens. However, I know people who are very happy with the pictures. The Fujinon wide angle is a lot better and you can also get 1/2" and 2/3" adapters, so you can use the lenses for high end cameras. If the prices are right, some of the lens for the new 1/2" HD cameras might be worth looking at, or you could rent one for a particular production.

When i mention film you can use the meter for HD & video work. Just don't get locked into a meter, use your eyes. http://www.spectracine.com/Product_2.html The latest Spectra goes down to F0.35

They'll all do the job, the Sekonics have a lot of hi tech features that you'd rarely or never use on a film shoot. You can find user reviews here: http://www.photographyreview.com/cat/flash...LS_3115CRX.ASPX I've got a couple Minolta IIIs which do all you need for shooting film, since I don't use flash. I've also got an old analogue Spectra Cine and the one thing I like about it is that the scale goes down to F0.7, which is great with Super Speed lenses.

You usually only need to use the monitor and use your eyes. However, if you want to use a meter you need a incident light meter to set up your lighting contrast. It's more useful on bigger setups, but you can use the incident meter as you'd use it on film. You don't need a spot meter, you can what you're getting on a well set up monitor. I'd use the monitor to set up the final exposure (in combination with zebras/waveform), making sure you're keeping any highlight details that you want.

None of the 1/3" cameras shoot 1080p, the HVX shoots 720p like the HD 100. However, you do have an option of 1080i, which the HD 100 doesn't have. I haven't used the HVX 200, so I can't comment on it. The HD 100 does have extremely good ergonomics and if you want to get used to (or if you're used to using) the layout of the higher end cameras the HD 100 is very similar. The spilt screen effect seems to have been sorted by JVC during quality control and they've now got their A version out. You'll need more than just a camera body, so factor in things like batteries into your budget.

Stephen, I remember reading about the DVW 970 around that time, but heard no more until late last year. The Sony Europe site still doesn't have a DVW 970 operation manual to download, even through there are manuals for the other cameras announced last year. Brian