Joe Taylor

I agree. It's getting boring watching the hero walk through crowd of baddies taking them out with one wicked cool punch. For one of the best references on staging a fight, take a good look at "Rob Roy." Each strike and thrust has a consequence-- for both fighters. Even bad asses tire fast, and desperation soon takes over.

That could be the director's finder that he designed.

Well, if it makes anybody feel better, Dodge is owned by Chrysler. Most people know how their business models work for them. These aren't the days to be alienating your base i.e. Red 1 owners. I for one feel like something RED dug out their collective ear and scrapped off on the bottom of their shoe.

I've wondered if this could ever be done. I'd love to actually see some results.

Does anybody know where one can buy some blank neoprene material to make lens shade doughnuts? Thanks

Sounds like your Norris did not come with the special knob. I speak with Dan Norris often and I am sure he can help you find the adapter that you need. If not, send me a PM and I will try and dig one up for you.

I had the original Lens Baby to start with then bought the Lens Baby Composer about two weeks ago. Composer is leaps and bounds above the first two Lens Babies... much easier to use and much more precise. I bought the full package with a pin hole system that is really cool-- used correctly and you can achieve in-camera results beyond almost anything before possible. I've been working with this system with the RED ONE and EOS adapter. If it wasn't available to the masses, I'd have kept the secret to myself.

I said your previous post nuked the fridge.

"Are the OSCAR nominations for cinematography out yet? I really do feel this should be among them." You need to lay off the left over grog, son. Kissing arse for shitty cine won't win you any favors. And no, the Oscars are months away and besides, it is still 2008.

I'm having a big problem with an 8 GB card. The footage I shot on it today plays back fine when previewing, but when trying to transfer it to computer, I'm being told that files on the card are from Dec. 22. The card was re-formatted this morning and showed nothing out of the ordinary even after the shoot was over. Again, all the clips are played back fine when mounted to the RED. When trying to make a disk image of the card, I get an error message that tells me that content is damaged. Again, all the files on the card are old-- i.e from two days ago. Weird (kind of spooky in a ghostly way since the card was re-formatted and filled by clips shot today) How can I save the media on this card?

Much of the show was shot with an Arri 2c and not just MOS. The big blimp is holding a IIc as well. Most of the wide shots were achieved with 9.8 Kinoptik. Those are pretty good lens and are still rehoused and used to the day. Otto Nemenz rents them out quite a bit. I have the HDDVD version and was disappointed in the image quality too (compared to the Shining and 2001) it looks like VHS. It's likely the sources for the transfer were poor quality multi-generation copies.

Hey Will, Thanks for the Crimson tip. Just downloaded their free trial.

Hello Will For this first project I need to downrez to 2k then go back and rework the 4k masters, so I can't work with FCP. As far as I can tell, I have to work, for now, with RED Alert! and/or RED Cine. It's a drag I have to go to youtube to get instruction for something that should come with the **(obscenity removed)**ing camera.

7. Disregard 1-6 if you are working with R3D files.

Just bought a Mac Book Pro 2.53 GHz, 4 GB RAM and a standard 320 GB 5400 RPM Hard drive. I know that the system requires a 7200 RPM Drive for the RED Video, so I also bought a 1 TB G-Raid. What I am asking is would I be better getting the 7200 RPM internal drive as well? The system is sluggish when screening the RED footage. Thanks

Thanks, Keith, but I'm looking for a good old fashioned manual that I can down load, print, study and learn. As far as I can tell, RED does not furnish a manual with their software. That has got to be a first. So somebody went and posted a video on Youtube. How low-rent. I just went out bought a new Mac today, and I still can't work with this damn thing (camera.)

I've been looking for some sort of instructions on working with RED Cine and Red Alert. I simply cannot find anything. Surely a manual of some sort exists.

Not to throw my original and still pending concern off track, but since Jim Jannard is posting in this topic, I'd really appreciate hearing from. If you have read the first post you'll see that I am indeed a Red customer. I wired my funds the day before the Nov. 13 announcements which sort of sprinkled on my parade. My concerns are simple. I have no plans to upgrade to Epic X or downgrade (money wise-- if that were possible) to Scarlett. I do enjoy working with the RED ONE and would appreciate hearing a direct pledge from you. Can you promise us RED ONE owners that Red Digital Cinema will continue offering hardware and firmware upgrades to the RED ONE that will be crucial in keeping this camera competitive with the other high-scale digital cinema cameras (including RED Cameras) after the RED ONE is discontinued and for the five years after the RED ONE's discontinuation? Thank you Jim.

I've seen it twice now, and I still don't know what happened with the big stampede scene. It seems like there was a lot of material cut out. There are glaring jump cuts with the kid going to sleep then suddenly he's wide awake. I understand that it supposed to be hours later but it is confusing. Then the bad guys start the fire-- it is still bitch black then everyone is up and racing to stop the stampede. By the end of the the big scene (and it is all in real time) it looks like late morning-- a lot later than it supposed to be. I doubt if cowboys sleep till noon on the drive. Anyhow it is very sloppy. Visually, it was not all that thrilling. For great Australian outback photography, I like to revisit "The Proposition" and "Walkabout," all featuring David David Gulpilil (sp?). I enjoyed the movie but wished that they could have taken more time to focus on the mysterious qualities of the landscape. Much of the problem was due to obvious fact that many exteriors were filmed on sound stages. A real drag.

Scarlett was announced as a 3k answer to the handycam market. I was not interested. Epic was a $50,000 5k system. Sounded great but way out of my league. On November 13 that all changed. Suddenly Scarlett went above and beyond the RED ONE and did it for thousands less. Yesterday's new announcements for Scarlett line and the Epic X nailed a big RED NAIL right through through their ONE. They killed the goose, so to speak.

People told me I'd feel better after awhile, but I still feel like George Lucas and Steve Speilberg pulled an Indiana Jones on me. Maybe it's because I wired RED my $21,000 the day before they announced the release of all these new cameras. I was dismayed and posted what I thought of that crap over at reduser.com. The fanboys-- they jumped all over me. (What is it with the legions that type "you probably need some rest, Jim." or "you can have me, Jim." Do they think Jim Jannard is going to die and leave them something? When ever he types something, they probably look like a water balloon just exploded in their pants. Anyhow, I've spent thousands and still need to spend several thousand more before I can really put the RED ONE to work. I simply won't have no $10,000 + to upgrade. "Rendering obsolescence obsolete." RED DIGITAL CINEMA This sounded great and I jumped onboard. And man, do I feel burned. The reason I feel burned: A year ago RED made their ONE sound like end of Obsolescence for digital motion picture cameras. They made it clear that we could expect to purchase upgrades to keep this camera at the top. Fine. But no matter how many upgrades we make to our RED ONES, they'll always be on page 8 of RED's catalog, probably in B&W. In 9 mos. they'll be discontinued. RED did not tell us this would be the deal when they first started or I probably would not have put my deposit down last May. And if I would have know that the entry level Scarlett would surpass ONE in EVERY measure, shape, & form pre Nov. 13, I would gladly change my name to SUCKER. December 3 (or 2nd) only made Indy's ass burn more.

Pretty Good Movie-- seen it twice. Cinematography is hit and miss in places... mainly it's when the actors are doing their work against a green screen. There's a lot of that in "Australia" for some reason. Looks really shoddy, but not sure it it's the DP fault. More the directors. There's one big scene that left me scratching me noggin'. It's the stampede scene. Scene goes from midnight to dusk to what looks like mid-day, then back and forth and in between. The King George does something but I really don't think it has anything to do with magic. This is not that kind of movie. It almost seems like something big was cut out of the middle. Otherwise this is the most glaring disregard for continuity since "Plan Nine from Outer Space." At least Ed Wood really an excuse-- he couldn't get his stock footage to match.

I think having a forum dedicated to large-format appreciation is an excellent idea. With digital technology quickly catching up with 35mm, RED's announcement of large format sensors for their EPIC line, and the makers of Dark Knight shooting a significant portion of that film in 15-Perf Imax, there could be a renaissance of sorts.

That's from "Seven." I was just thinking about a very similar shot from "Zodiac," another David Fincher movie. Very cool.

Does anybody have a link to any super 8 footage that was transferred to High Def and posted online?