News from Sony and Panasonic?

[PMedia]

Please hear me out. I'm still finding it hard to believe the price of this camera. It's going to cost me $32050 US to buy a complete RED ONE rig. Yet the new HVX500 + lens is roughly the same price and the HVX2000 + Len is way more exspensive.

Why would anyone buy a sony or panasonic camera from now on???

I produce commercials and high end corporate work and need to buy a new camera in 6 months time. (moving from SD - HD)

Surey Sony and Panasonic are going to have to slash there prices in half to compete, other wise the Red camera will cream the market????

Has anyone heard or read any treads about this or am I missing something

[Ralph Oshiro]

Please hear me out. I'm still finding it hard to believe the price of this camera. It's going to cost me $32050 US to buy a complete RED ONE rig. Yet the new HVX500 + lens is roughly the same price and the HVX2000 + Len is way more exspensive.
Naw, you could build a servicable RED package for about $22K, plus the cost of some Nikon or Canon still glass. First of all, it's the HPX500 and the HVX200. If RED weren't coming out, I would probably be buying a Panasonic HPX500 this summer, instead. Unlike Sony's 1/2"-based F330/350 XDCAM-HD cameras, the HPX at least uses a 2/3" imager. Sure, the HPX uses a lower-resolution, pixel-shifted imager, but it still looks great--and it's a 2/3" imager. I'll take a lower-res 2/3" imager over a 1/2" imager any day. With the exception of RED, in my opinion, the Panasonic HPX500 is the best bang for the buck in low-cost HD cameras around.

[Ralph Oshiro]

I produce commercials and high end corporate work and need to buy a new camera in 6 months time. (moving from SD - HD).
Well, to me, you sound like a perfect RED client! You could differentiate your product from the rest of the pack by offering premium imaging capabilty. And since you're not shooting news or whatever, the workflow should be acceptable to that market.


Surey Sony and Panasonic are going to have to slash there prices in half to compete, other wise the Red camera will cream the market?
I highly doubt that. They may be prompted to introduce lower-tier products (which actually, both companies already have), but I suspect their pricing startegy to remain largely unchanged (except for maybe the highest-end camera products). The bulk of Sony and Panasonic's pro clients are broadcasters (i.e. ENG), and that's the market/application for which both company's mid-line products (F330/350/HPX500, etc.) are best suited.

[Ken Willinger]

Why would anyone buy a sony or panasonic camera from now on???

I produce commercials and high end corporate work and need to buy a new camera in 6 months time. (moving from SD - HD)


I think a lot of us on this user group are in the same boat as you regarding moving from SD to HD. RED appears to be a no brainer to me although I have many friends in the business who are still skeptics. "Unproven" I have heard some say! Tell that to PJ. In any case I think the majors are going to see some issues regarding sales of their high end products. One of my top clients came to NAB. I brought him to the RED booth. He's on board. Unfortunately I will still need to deliver tapes to other clients. BTW, will the RED record direct out to a 720 or 1080 deck?

[Paul Hazlett]

the hd sdi port sends out 720p I believe and I don't see why you cant record
that feed. however I am not sure the audio rides with the video down that line.

You could also shoot 4k redcode and bring into FCP and give your client anything they want on tape as long as they dont need to walk with the tapes at the shoot

[Ken Willinger]

as long as they dont need to walk with the tapes at the shoot
That's the rub!!

[Bachman]

Naw, you could build a servicable RED package for about $22K, plus the cost of some Nikon or Canon still glass. First of all, it's the HPX500 and the HVX200. If RED weren't coming out, I would probably be buying a Panasonic HPX500 this summer, instead. Unlike Sony's 1/2"-based F330/350 XDCAM-HD cameras, the HPX at least uses a 2/3" imager. Sure, the HPX uses a lower-resolution, pixel-shifted imager, but it still looks great--and it's a 2/3" imager. I'll take a lower-res 2/3" imager over a 1/2" imager any day. With the exception of RED, in my opinion, the Panasonic HPX500 is the best bang for the buck in low-cost HD cameras around.

Ralph, Thats excatly what we where goin to do, I think Panasonic will lose alot of sales to the RED

[Ivan G]

I'm not complaining :) Competition is good, right?

[Jaime Vallés]

as long as they dont need to walk with the tapes at the shoot

You can do this, too. Just bring along an HDcam deck and plug the RED in via HD-SDI for instant recording of 1080 downscaled from 4K. If they want tape, they got it. No transcoding, no RedCine, no waiting. It's a CineAlta for an eigth of the price (proivided you have an HDCam deck, or rent one).

Of course, RED gives you the option of recording HD on to tape via HD-SDI, or up to 4K on a much cheaper RED DRIVE. Unless your client absolutely demands a tape master, shooting straight to disk is definitely preferable.

[Thomas Mathai]

You can do this, too. Just bring along an HDcam deck and plug the RED in via HD-SDI for instant recording of 1080 downscaled from 4K. If they want tape, they got it. No transcoding, no RedCine, no waiting. It's a CineAlta for an eigth of the price (proivided you have an HDCam deck, or rent one).

Of course, RED gives you the option of recording HD on to tape via HD-SDI, or up to 4K on a much cheaper RED DRIVE. Unless your client absolutely demands a tape master, shooting straight to disk is definitely preferable.

This assuming you can bring along a deck to where you are shooting.

[Leo Ticheli]

First, let me say that I'm almost as drunk with Red Kool Aid as anyone else here, but let's not be so quick to count ten over the fallen bodies of Panasonic and Sony.

There is a plethora of markets for video cameras with various capabilities and price points. While the Red camera promises to be a perfect fit for most of the work I do, it's probably not the best choice or price for many others.

Both Panasonic and Sony, and some others to a lesser extent, sell a pretty complete range of cameras that cover virtually everyone's needs, except for the 35mm sized sensor, ultra high definition market that wants to use big lenses and shoot very much in a 35mm film style of operation.

What we see and huge advantages with the Red are also big disadvantages for others; for example, the narrow depth of field we crave makes a camera assistant pulling focus necessary. Many shoots cannot budget for this. If one is shooting sports, they like more depth of field, so the 2/3" chip might be a better choice. Likewise, not being able to yank out a tape to hand off to the client at the conclusion of a shoot is a non-starter for many "CrewsControl" kinds of jobs.

News gathering is a major market, contributing thousands of sales; it's my opinion that the Red is terrible camera for this use. Of course future Red cameras may well compete in this arena, but the Red One does not.

Both Panasonic and Sony could easily bring to bear their considerable expertise and technology to produce a large sensor HD camera. At NAB I saw Panasonic's mock-up for just such a camera and I liked the form factor very much. Frankly, I'd love to have all the VariCam settings I'm used to in a 35mm-sized sensor HD camera.

Whether or not Panasonic and Sony join the game will depend on their assessment of the market size for such a camera. I'm not sure the very low price of the Red body would kill sales of a big chip Panasonic or Sony camera; the body itself is a relatively small percentage of the total cost of a complete package, so even if the big boys charged two or three times the cost of a Red, they would still be viable if they offered more in the way of technology or service.

Service, of course, is the elephant in the room. When I've had emergencies, both Sony and Panasonic have come through for me like champs; need a loaner body? Next day delivery.

So far, I've been thrilled with everything Red has done; I hope, and believe, they understand the value of keeping some emergency replacement gear in their back pocket. We're in a business where a considerable sum of money is on the line every shooting day, so speedy support is vital.

I hope no one believes this is Red bashing; far from it. I'm so looking forward to the day I'll have my Red One and the 35mm work flow I've missed ever since we went all HD.

Good shooting and best regards to all,

Leo

[jamesedwelland]

An excellent post. And I do hope that service and support, vital when problems happen on set, is better than indicators so far suggest it might be.

[Moir]

I hope no one believes this is Red bashing; Leo

Not at all. You make some excellent points.

While it's true that Red isn't an obvious choice for ENG, and larger organisations that typically buy higher end ENG cameras are arguably not as price sensitive as individual buyers, isn't there going to come a point where the CFOs of major news corps start asking Sony or Panny some rather pointed questions about why they can't sell lower spec cameras for less than 3x the price of Red?

[Zakaree Sandberg]

I disagree with the need for a 1st ac all of the time.. Sure on a bigger budget digital cinema (im starting to phase out "FILM" now) a 1st ac will be present and accounted for.. but the op can pull focus and with the focus assist, this process should be smooth

[David Mullen ASC]

An operator pulling his own focus isn't really going to cut it for narrative work with actors, if it will be seen on large HD monitors or on a cinema screen, not with 35mm-style depth of field, except perhaps day exteriors where you might be shooting at deep stops, and perhaps handheld interiors shot on wide-angle lenses. Focus assist devices can be fooled, and they can't anticipate what an actor is doing next, only react after-the-fact.

[Steve Gibby]

What we see and huge advantages with the Red are also big disadvantages for others; for example, the narrow depth of field we crave makes a camera assistant pulling focus necessary. Many shoots cannot budget for this.

There’s been a lot of discussion of 35mm DOF on this forum – multiple threads. Narrative cinema is only one of many genres of production that RED One will be used for (see partial list below). The RED EVF is 720p and the EVF is 1024x600. The RED Focus Assist, which works on the EVF and LCD, is claimed to enable accurate focusing, right down to shallow DOF levels, at S35mm formats on down to 720p. It’s premature to assume that a focus puller will be necessary for all S35mm DOF situations when using RED One. Beyond that, shallow DOF is only one parameter of DOF needed for productions. Medium and deep DOF is also used extensively, obviously achieved by smaller apertures, thus focusing is even easier, and the need for a focus puller is even less. If the RED focus Assist works as claimed, pulling focus when shooting S35mm will be achievable by single shooters if need be – for example mobile stock footage shooters, etc. Since RED One also shoots 2k, 1080p, and 720p, with those format’s inherently deeper DOF, the need for a dedicated focus puller when using RED Focus Assist is even less than when shooting S35mm.


If one is shooting sports, they like more depth of field, so the 2/3" chip might be a better choice.

I’ve produced, directed, and several hundred national sports programs for ESPN, Fox, NBC, OLN, SPEED, and other networks, and I’m a yearly judge for the National Sports Emmy Awards, so I’m pretty close to the needs of sports production. DOF uses and needs vary in sports production, from shallow DOF for creative montages and CU’s, to medium DOF for interviews, to deep DOF for action and establishing shots. I’ll use my RED One cameras extensively for non-hardlined sports production. Creative shots for inbumps/outbumps, opening/closing montages, will be in 4k REDCODE RAW at 24 or 30fps. Action shots will be in 2k REDCODE RAW at 60fps. The shooting is almost always in good daylight, thus apertures are generally between f5.6 and f11, thus DOF is medium to deep. Shallow DOF can then usually be achieved by use of ND filters to open up the iris. Having used 2/3” chip cameras extensively for sports production, ever since they were developed, and now adopting RED One, and in view of the flexibility I outlined above, I see no advantage in choosing a dedicated 2/3” chip camera for my sports productions – in fact I see many advantages by choosing to use my RED One cameras.


Likewise, not being able to yank out a tape to hand off to the client at the conclusion of a shoot is a non-starter for many "CrewsControl" kinds of jobs.

This has also been hashed over extensively on previous threads here. There will be certain time-sensitive jobs, which demand tapes, which RED One will not be ideal for. That said, virtually all editing for quick turnaround EFP production is non-linear, and hard drives are a given fact of life in those workflows. Re-educating clients that they will be getting their footage dumped to an $80 hard drive via USB 2, is something that will be necessary for a lot of jobs. Some will still demand tapes, but progressively they will learn to accept drives and simply dump the footage into their system. Any QuickTime capable NLE can handle RED footage, plus Apple’s NAB announcement of ProRes 422 enables easy editing of RED footage on FCP systems.


News gathering is a major market, contributing thousands of sales; it's my opinion that the Red is terrible camera for this use.

RED One isn’t ideal for ENG, but it does have some peripheral applications where deadline turnarounds aren’t extreme: creative b-roll for teases and promos, lifestyle program segments, etc.

--------------------------------------------

RED One can be, and will be easily used in a wide variety of cine-style and EFP style production genres. Here’s a few suggestions:

RED Formats and Target Apps
Feature films (2540p, 4K, 2K) Indie films (4K, 2K or 1080p) HDTV programs (4K, 2K, 1080p, 720p) Commercials (4K, 2K, 1080p, 720p) Infomercials (4K, 2K, 1080p, 720p) Stock footage acquisition (4K, 2K, 1080p, 720p) Music videos (4K, 2K, 1080p, 720p) Business videos (2K, 1080p, 720p) HDTV News & promo B-roll (1080p, 720p) POV deck (1080p, 720p, with a cigar cam) POV mount camera (2K, 1080p, 720p) In-water camera with a custom housing (4K, 2K, 1080p, 720p) Aerial handheld and gimbal mounted (2K, 1080p, 720p) Events of various sizes (1080p, 720p) Film festival screenings (4K, 2K, 1080p, 720p) Broadcast teases and promos (2K, 1080p, 720p) Public service announcements (2K, 1080p, 720p) Note: 1080i, if needed, can be extracted from any format RED ONE shoots

There are many more genres for RED One use than that. With that kind of flexibility and utility, it’s an easy assumption that RED One has the potential to erode away the 2/3” chip EFP market of Sony and Panasonic.

For a summary of the EFP and ENG uses of RED One, you might want to check my “EFP and ENG Definitions and Explanations” sticky at the top of the EFP and ENG for RED forum here on RED User.
Link: http://www.reduser.net/forum/showthread.php?t=1105

It’s good to have you here on RED User Leo. I think you need to get up to speed on the breadth of uses for RED One. The notion that RED One is only a digital cinema camera is erroneous, and has been from the start. From it’s outset, RED One was planned as a DC camera that could and would be easily re-lenses and re-accessorized for a wide variety of EFP and limited ENG use. For one of the many verifications of that, check out my published interview last year (4/06) with Jim Jannard:

Link: http://www.studiodaily.com/main/news/6388.html

Stuart English, the Workflow Wizzard for RED, was an executive for Panasonic for years, and as such, was one of the movers in the development of the Varicam and other high-level Panasonic EFP cameras. EFP and ENG capability input for RED One has been maintained by Stuart and many others all through the development process for RED One.

Service: RED has stated several times on this board, and on the old DVX User RED forum, and DVi RED forum, that service is of a prime importance, and that they intend to provide great service to their users. The camera hasn’t delivered yet, so RED hasn’t had a chance to demonstrate their level of service, but they have delivered on everything else they said they were going to do, and since Jim Jannard is the founder of RED and Oakley, and the customer service of Oakley is extremely good, IMO RED will deliver well in the service department.

Bottom line: IMO RED One is definitely a threat to the sales of the 2/3” chip camera systems of Sony and Panasonic, as I’ve itemized above.

[Michael Booth]

Service, of course, is the elephant in the room. When I've had emergencies, both Sony and Panasonic have come through for me like champs; need a loaner body? Next day delivery.

So far, I've been thrilled with everything Red has done; I hope, and believe, they understand the value of keeping some emergency replacement gear in their back pocket. We're in a business where a considerable sum of money is on the line every shooting day, so speedy support is vital.

This is my main sticking point. I'm from the UK but would love to trade in my HVX200 + M2 + P2cards + P2store to get a Red One camera. However what happens if the camera fails for any reason? I'd have to send it back to the US which would leave my only option but to hire a replacement, which may not yield the same quality that the client expects.

I'd really like to put my name down for a camera for 2008 but what stops me is that Red don't have a UK office, or do they? :detective2:

[Sam Druckerman]

I do hope that service and support, vital when problems happen on set, is better than indicators so far suggest it might be.

Huh? Based on what? They haven't told people there place in line yet? They are under development and have stated things will change from the onset. Since there racing to build the best performance to price digital cinema camera that's ever been made, I don't need them to waste a lot of time updating there Web site, etc. Or holding everyones hands, the deal has always been.... "Want to ride a rocket? Join us."

James, please consider the remarkable achievements Team Red has made in the last 18 months and keep in mind that need and deserve a little time to recover from all there hard work leading up to and during NAB.

I have been closely following Red for 18 months. I have had discussions with most of the Team and I can tell you without any reservation that this company will set new levels of excellence when it comes to both service and support.

For those that may be new to Red..... It's important to remember that the open development path Red has taken has Never been done before. Just try and have a conversation with the development team or the CEO at Sony or Panasonic and see what happens.

There's a world of difference when it comes to discussing products that are in the field now, and those in the final stages of development.

[Leo Ticheli]

It’s good to have you here on RED User Leo. I think you need to get up to speed on the breadth of uses for RED One. The notion that RED One is only a digital cinema camera is erroneous, and has been from the start.

Thank you, Gibby,

I'm getting "up to speed" as fast as I can without having my Red One and all the extra bits in my hands! I'll be happy to see the Red One camera perform in as many roles as practical and I'm quite sure owner/operators will push the limits of what's possible.

I am a strong believer in using the best tools available for any given job consistent with the practical needs of the production and the time/budget available. I don't believe any camera, even one as innovative as the Red is the best choice for every application.

Good shooting and best regards,

Leo

[Steve Gibby]

Thank you, Gibby,

I'm getting "up to speed" as fast as I can without having my Red One and all the extra bits in my hands! I'll be happy to see the Red One camera perform in as many roles as practical and I'm quite sure owner/operators will push the limits of what's possible.

I am a strong believer in using the best tools available for any given job consistent with the practical needs of the production and the time/budget available. I don't believe any camera, even one as innovative as the Red is the best choice for every application.

Good shooting and best regards,

Leo

Like everything else, there's learning curve involved. The learning curve with RED One is steep and accelerating. I’ll have one of the first RED One cameras (#8) in my hands shortly, and then launch into a battery of field tests, then lab/field tests with a team of pros in Los Angeles. Those will be cine style and EFP style tests, using cine lenses, 35mm still lenses, S16 lenses, and B4 2/3” lenses. Those results will be posted here and published elsewhere. Hopefully that will shorten down everybody’s learning curve on the real world capabilities of RED One.

Nobody is saying RED One is the best tool for every single motion media job. That's impossible for any camera system. What RED is saying is that they have designed a flexible, adaptable, scalable, and highly utilitarian tool that can be used for a wide range of cine-style and EFP style production workflows. In my 30-year career in motion media production, I’ve never seen a camera system that shot this many formats, resolutions, and had this many lens format choices – not even close. Thus if someone wants to own the most flexible and broadly-usable professional motion media camera system ever developed, then RED One would be their logical choice. That said, if someone’s work genre choices are very narrow, and they wouldn’t use the breadth of production opportunities opened by a flexible camera system, and they expect to stay in that niche professionally, then maybe they should stay with their 2/3” chip camera system. What RED One gives us is the ability to spread our work genres, skill sets, and revenue, in one single camera system that can be re-lensed, re-accessorized, and put out on the job.

RED One isn’t the best choice for every application, but IMO it will be the first motion media camera system that is the best choice if you want to own one single camera system that can do nearly every genre of cine style and EFP style production at a level of either “good” on up to “great”.

RED User is a real good community. The members will readily step up to shorten other new members learning curve on RED One. Some of us jumped on the RED bandwagon immediately – I did, 17 months ago. That said, I regularly go out of my way to post insight designed to help new RED One adopters get up to speed on RED. When I get time between my productions, I answer RED-oriented questions for anyone and everyone. It’s just in my nature. I known you as a moderator for the High End HD forum on Creative Cow, and IMO you are a good moderator there, who takes the time to answer people’s questions. You’ve sent out that good “karma”, and now it’s your chance to collect on it from others who headed down this RED trail earlier.

Cheers…and again, welcome to RED User!

[jamesedwelland]

RED One isn’t the best choice for every application, but IMO it will be the first motion media camera system that is the best choice if you want to own one single camera system that can do nearly every genre of cine style and EFP style production at a level of either “good” on up to “great”.



In many ways I agree. Being involved in movies and tv drama shot on film, the flexibility to shoot at different definition levels suits me particularly well. I do wish they would answer emails though.

james w

[Keith Nealy]

Well said Gibby, you reafirm my commitment to Red and underscore my investment in this technology. When I look around my studio after thirty years and see the relics of old technology gathing dusk I am encouraged by Jim's words that Red will be the last camera you'll ever have to buy.

My wife will be very happy about that.

Aloha,

Keith

[Steve Gibby]

James,

I'm sure they'll answer your emails. They undoubtedly got swamped with orders during NAB week, and they're probably working night and day to get ramped up for fulfillment of orders and finishing off the development of the camera system. I'd imagine there was no way to anticipate exactly the response of NAB week, and as we saw it was obviously huge. Once they get a breath, I'm sure they'll get back to you.

If you don't mind me asking, what was the nature of your emails - orders, tech questions, complaints, or what?

[Steve Gibby]

Well said Gibby, you reafirm my commitment to Red and underscore my investment in this technology. When I look around my studio after thirty years and see the relics of old technology gathing dust I am encouraged by Jim's words that Red will be the last camera you'll ever have to buy.

My wife will be very happy about that.

Aloha,

Keith

LOL...so will my wife!

In pidgeon - "Eeeeets da kine brah!"
(I lived in Hawaii for a long time)

[Steven Parker]

For what it's worth, Sony cancelled a seminar/demo of the F23 that was planned for this weekend here in LA - the reason?

"After receiving input from the filmmaking community at NAB, Sony decided to make a couple of significant refinements to the design of the F23, which has pushed back delivery, as well as the availability of a model to show at our BandPro event on May 5th."

Digital Cinema Society and BandPro were the hosts. First victim?....:shifty:

[Michael Schrengohst]

"After receiving input from the filmmaking community at NAB, Sony decided to make a couple of significant refinements to the design of the F23, which has pushed back delivery, as well as the availability of a model to show at our BandPro event on May 5th."

Translated: After getting a good RED whipping we decided there was no way we could charge $170,000 or almost 10 times the price of a RED body for an F23. We are developing a new 8K chip and will sell the new re-designed F24 for $8,750 - double the chip size for 1/2 the cost of RED. - HA HA

[PMedia]

Wow I love how these tread get people fired up. I thank you for all your advise.

I don't really agree that RED is no good for ENG. Yes it may not be as good to what we are "use" to but it still will do a good job at a cheaper price with a HUGE!!!! quality advantage.

Yes News gathering may and I say may stay with the traditional camera setup, but that is not sony and panasonic main cash cow. I'm talking about the indie film, corporate video, commercial makers who have been on SD cameras for years like DV, DVCAM, DVCPRO, DigiBeta... and now are going to change up to HD like HDV, HDCAM, XDCAM HD, DVCPRO HD...

What Red have done is blown this market up which is 1000 x larger than news garthering. Those people like me are saying Hey Sony Panasonic why should we buy your camera when we have RED. I tell you that they have to sit up and listen because there's going to be a massive chunk of there business taken away from them in a very short space of time. They will have no choice but to compete. I'm not talking about their new high end $100K+ cameras I'm talking about the mid end camera's like the HPX500

I'm sold in six months I'll be placing my order for the Red.

[Keith Nealy]

No way...Gibby! Where you live?

Whenevah you come home... you welcome come share some grinds and talk story bout Red and t'ings. Shoots... we cook'em broke da mout kalua pig and opakapaka an all kine grinds wash down with Kona Red! What else?

Aloha bruddah

Keith :matrix:

[Steve Gibby]

No way...Gibby! Where you live?

Whenevah you come home... you welcome come share some grinds and talk story bout Red and t'ings. Shoots... we cook'em broke da mout kalua pig and opakapaka an all kine grinds wash down with Kona Red! What else?

Aloha bruddah

Keith :matrix:

Ahhh cuz! I waz on da kine fo many years fo work on da surf TV shows, brah. Ah leev on all da islands brah fo work. Ah wuz da kine director fo TV series fo years brah, an many da uddah series fo sports an travel. Oh cuz...Kalua pig an da kine opakapaka ees ono brah!

Now in California talk!: I lived in Hawaii big portions of every winter for about 12 years. I was on the crew that covered all the world surfing tour events each winter, plus events like the Hawaiian Mountain Tour, Aquaterra (XTerra), NFL Pro Bowl, PGA Golf, and I directed the ESPN Hawaiian Sports Adventure series for two years (30 programs). We were on all the islands constantly featuring everything you can do in the air, on the land, and in the water, food culture, etc. We'd be there for about four months total each winter. My wife is a professional production coordinator and she worked with me in the islands for years. I'll let you know when we're headed to the Islands - I'll bring one of my RED cameras and we'll go shoot some footage.

Aloha bruddah!

[Keith Nealy]

Sounds like you been "run hard and put a way wet", brah.

How do you think the sports networks like ESPN, CBS etc that come here will warm up to RED or are they so entrenched into SONY, et al that they won't even consider it?

RED is definately my future but I wonder how it will effect my current ENG business?

Thanks for all your great posts - I can't wait for your #8 so we can read about your testing.
When you come back tothe islands we can go shoot some stock -RED style.

a hui hou,

Keith

[Steve Gibby]

Sounds like you been "run hard and put a way wet", brah.

How do you think the sports networks like ESPN, CBS etc that come here will warm up to RED or are they so entrenched into SONY, et al that they won't even consider it?

RED is definately my future but I wonder how it will effect my current ENG business?

Thanks for all your great posts - I can't wait for your #8 so we can read about your testing.
When you come back tothe islands we can go shoot some stock -RED style.

a hui hou,

Keith


I do national sports TV work for ESPN, Fox Sports Net, NBC, OLN (Versus), Comcast Sports, SPEED, Fuel, and many others. Almost all of what I do is non-hardlined, with small, mobile crews. I'll be using my two REDs extensively for my sports work. I would imagine entities like NFL Films are also taking a hard look at RED One, and many other entities also. With its ability to genlock, 12 volt power, RS232, etc., RED One can also be integrated into hardlined sports production, with workarounds for intercom, return video, etc.

I'm also an invited judge each year in New York for the National Sports Emmy Awards, so I'm on top of the production values used in the top-level sports shows. I think RED One will be used for creative montages, opens, closes, inbumps, outbumps, and lookback montages in edited national sports productions - not necessarily live hardlined shows. The consistently Emmy-winning sports documentaries on HBO, ESPN, and Fox Sports Net seem to me to be especially logical adopters of RED One.

I'll also be using my RED One cameras in adventure travel, nature, lifestyle, and cultural productions for the likes of Discovery, National Geographic, etc. Beyond that, I have a D-cinema feature and four HDTV series in development for 2007-2008 with my production alliance partner, Ken Corben ("Sharkguy").

I can't wait to bring #8 back to the Islands! Some places I've shot in the world have so many potential shots that it's like a smorgasboord of options - that's Hawaii! I love shooting in da islands bruddah...and when I do I'll let you know.

Aloha,