NEW OWNERS - WELCOME - Take Caution

[dino g]

There are thousands of people that come and go on these boards every day. There are only about 20-30 of us that actually own cameras and are not directly or indirectly affiliated with RED.

I am one that is not affiliated with RED, nor do I own a rental house, rather I am a producer/director/editor that knew very early on that this would be the greatest thing since the Jazz Singer allowed us to hear sound in movie theatres in 1929.

In the spirit of camaraderie and brotherhood I want to share some of my experiences over the last 45 days, so that you all do not have to go through some of the pain i have experienced.

First, (and this has been said in many places and in many different ways, but allow me to reiterate), if you think that your camera will cost you 17,500 you are dead wrong. if you think that the more likely figure of $35-40k is what you will end up spending, you are also wrong. you MUST also purchase support gear if you want to use your camera for yourself and you MUST purchase even more gear if you expect to be an owner/operator/rental guy/gal.

Second, once you take possession of your camera, you are now in a legitimate GANG. a gang that is bound by some of the same principles and rules as any street game or team. we must be loyal to our boss, in this case red...

These camera are not done. they work and do an awesome job, but we want more and so will you. if we bitch and moan and publicly de-face the company, outsiders cling on to that information and suddenly we have a 10 pound door stop. Jim doesn't need your money, but he is the only Billionaire that i know ( and i know many) that sits on a bulletin board and answers random questions from his customer (current/future and potential customers). he and the team he has assembled are unparalleled in their quest for 100% customer satisfaction, not 99% or 99.99% but 100%, which is a perfect score with no errors/ ERROR-Proof.

I have a suggestion for owners coming in this week, if you have a question, PM a few owners (1-50) first, call or email red second, then go to the board for your answers as a last resort. the red team is a dedicated and focused bunch, but so are 1-50 and many of us are more than willing to help the new owners, who knows we may need to partner with you someday for a multi-camera shoot.

Support your teammates - let's continue to help each other because a bad experience for a producer/director/dp is a lost customer for all of us.

Third, DO NOT EXPECT TO GET YOUR CAMERA FRIDAY AND RENT IT OUT ON SATURDAY. please use your camera for a week or two on your own. Learn the menus, shoot under all conditions, extract the data, play with red-alert cut some footage on final cut....know your shit backwards and forward before you show up on set because if you do not it will be a disaster for not only you but for RED and the other OWNERS. you are representing us ALL, act accordingly.

You will know more about RED then every single person in the room and on set. Know it, learn and know it all. be patient, and by all means have a presence in the field, cause you are the expert and you are the one representative of us all at that moment, in that place.

Fourth, BEING A DIT/RED TECH/OWNER ON SET IS A HUGE RESPONSIBILITY. Unlike any other recorded medium, RED requires patience , speed, dedication, knowledge and expertise. the job of running through menus to change a setting (fps, asa, format, monitors, test screens, white balance, shutter speeds...) is a full time job on set, ONE FULL TIME PERSON PER CAMERA BODY TO STAY WITH CAMERA CLOSE TO THE DP & DIRECTOR. This person can not also be the ingest/let me see how it looks guy/gal. that is a separate person PER CAMERA BODY. IF YOU THINK YOU CAN RENT YOUR CAMERA AND BE ON A PROFESSIONAL SET WITH A CREW LARGER THAN A PROFESSIONAL FOOTBALL TEAM AND BE BY YOURSELF SUPPORTING THE DP/DIRECTOR/PRODUCER/EDITOR AND GET ALL THE CF CARDS OFF LOADED AND MIRRORED ON MULTIPLE DRIVES, LET ME TELL YOU SOMETHING -----YOU CAN NOT!

You must bring a small staff to help you in that situation. I recently rented my camera (and a second body) to a very well established production company that was producing a very high budget promo for a new cable show featuring one of the top 10 celebrities in the World, it was high pressure and the staff i brought preformed flawlessly. but without them, it would have been a bust.

Fifth, ASK QUESTIONS BEFORE YOU RENT, MAKE SURE EVERYONE (DIRECTOR/DP/PRODUCER/AC'S/EDITOR/POST HOUSE) IS ON THE SAME PAGE. make sure you and they have established a proper workflow from camera to drive to bay to color to delivery. know the weak links. If the "Star Editor" whom has won countless MTV awards & Clio's. will only work on an AVID system from the mid 90's because it runs on OS9 and never crashes and is what he knows and is the only editor that the award winning director trusts, then know a work around to the published (this board) workflow scenarios. [CALL STEPHEN BERES AT PLASTERCITY DIGITAL POST 323-469-9800 IF YOU WANT THE BEST OF THE BEST TO HELP WITH CONFORMING TO WHAT EVER THE NEEDS ARE or Chris Blythe at RIOT].

Sixth, KNOW THAT YOU WILL BE THE FIRST PERSON DOING WHATEVER IT IS YOUR DOING AND THAT THE ONLY PEOPLE ON THE PLANET THAT CAN HELP -- YOU-- FIGURE THIS SHIT OUT IS 1-50 & RED. be prepared for...WE HAVE NEVER DONE IT THAT WAY...WHY, HOW COME, IT COSTS HOW MUCH???? OR BETTER YET, NO, WE CAN NOT DO THAT.

KNOW that 98% of every major post house on the planet uses AVIDS and they do not own intel based macs as a rule and most highly paid professional editors that are ACE editors do not know FCP. so be prepared to teach, nurture, cajole them into getting the FCP religion.

YOU ARE A PIONEER, YOU WILL GET ARROWS SHOT AT YOU FROM IN FRONT OF YOU BEHIND YOU AND FROM THE SIDE. be prepared to answer all the questions, be prepared to do 10 demos before you get one rental. there is a lot at stake for this to not happen, we are all changing the way this system works and there will be supporter and detractors, feed off the supporters and listen to the detractors and if you are armed with the knowledge, then you and the camera and specifically the properly exposed and composed imagery will mitigate the detractors concerns.

Seventh; HAVE A SYSTEM. figure out a physically system for extracting data off the CF cards, because it can get tricky.

Eighth. BUY A 24" IMAC WITH 4 GIGS OF RAM. 1920 X 1200 MONITOR RESOLUTION, 800 FW, COMPACT...YOU WILL THANK ME LATER. It is what the High end Digital photogs use because the monitor is world class and the form factor is elegant and by all means functional.

9th - have at least 4 batteries and two chargers and at least 10 cf cards, short of that and you will be in trouble on a pro set.

I want you all to be successful because one day you too will be busy and i may not be and i want that business that u are turning away and vice versa.

enjoy,

dino

[dino g]

for old times sake...thought i'd re-post this since some of you thought it was useful.

dino

[dino g]

to answer a common question:

why an iMac vs MAC Book Pro.

unless you are shooting your own project and you do not have to see the images every five seconds, then i strongly suggest the iMac. your clients will thank you, here is why...

video resolution:
17" mac book pro 1900 x 1200 native resolution

24" iMac 1920 x 1200 native resolution


proc speed:
mac book pro - 2.4 ghz max

imac 2.8 ghz max


monitor size:
17" ( 14.5" x 9.25") = 134.125 sq inches...

24" (21.5" x 13.5") = 290.25 sq inches 116% larger (THAT IS MORE THAN DOUBLE THE SIZE!!!!)

lots more picture to see, faster chip, SEXY package.

now if you are on location outside and do not have power, all bets are off go with the mac book pro; but on a set; iMac rules, 5 minutes to set up and superior quality image for a nice price.

dino

[Patrick Tresch]

KNOW that 98% of every major post house on the planet uses AVIDS ... so be prepared to teach, nurture, cajole them into getting the FCP religion.
dino

Thanks Dino for posting this again.

But it seems you don't need FCP to edit media. You can do a lot of things with other platforms making an EDL.

I don't want FCP religion:angry03: , I'm an agnostic.

Pat

[dino g]

agreed, BUT, FCP is what red is "supporting" at the moment and APPLE is "supporting" Red. So, take that what ever way you want but know that 15 to 20 years ago i exclusively used lotus 123 and word perfect and was very against anything microsoft; but alas, word and excel are the standards for word processing and spreadsheets and anyone younger than 25 probably has never heard of the other two programs even though 90% of the UI on both word and excel are stolen directly from WP & 123.

so avid may be king, but FCP is #2 with a bullet as they used to say of singles that were on their way to #1. if you dont know FCP now, i strongly suggest you start to learn. apple is not getting any poorer and last time i checked avid stock, it was struggling and has for 10+ years.

said a different way, apple has roughly 40,000 sqr ft of space at NAB, and it is has grown 50-75% each year since FCP WAS RELEASED IN 1998. Avid had maybe 15,000 sqr ft and it has shrunk 25-50% each year for the last 10 years; do you see a trend?


*****UPDATE AVID WILL NOT HAVE A BOOTH AT ALL AT NAB 2008******

Call it what you will i see the writing on the wall.

[sublimesnfu]

I'm seriously looking at getting a Red system to use for an Outdoor TV show I'm helping producing next summer everything is to be shot in HD. But I've been try to get a realistic grasp of the necessary equipment I'll need, Already have the macbook pro for in the field with a solar charger and am waiting for the next mac pro. Can you tell me roughly what other equipment I will need other than the camera (i don't mean the charger batteries, lcd or cf card) I've got a couple of nice FCP stations already and have been using it since version 1. I'm also very concerned about the amount of time I'll be spending on color grading because after the first 10 shows are delivered they will go on air and I will have about 2/3 days to shoot and the another 4/5 days top to cut an episode with the help of 2 additional editors when needed to assemble the edit. Oh yeah the show is 45min actual runtime. Any help advice would be greatly appreciated Thanks kosmos3d

[Patrick Tresch]

if you dont know FCP now, i strongly suggest you start to learn. apple is not getting any poorer and last time

and it is has grown 50-75% each year since FCP WAS RELEASED IN 1998.

Apple bought FCP when it was ready to be eaten. I've worked on FCP since early 1999. It was fcp 1.20 where you had to buy 3rd party codecs to allow super white... Do you remember?
So I do work on FCP and AVID. To tell a story I prefer AVID (just my taste) to do effects and play with medias I do prefer FCP (just after DS nitris).

It's not an religion war, and I don't care if AVID is gone in 10 years. But now, for the next 5 years I would like, if you permit, to be able to work on both platforms.

BTW did I mentionned AVID in my last post?

I was thinking about Media100:tongue:


See you.

Pat

[dino g]

i have a media 100, do you want to buy it? there is still $10,000 left on the lease...j.k.

an interesting revelation since the larger post i wrote a week or so ago came today in the form of yet another large cable network whom is shooting a promo with my camera next week. they are also cutting on a system 9 avid, go figure, so RED 4k to digibeta might become the norm for 720 ntsc finishing. who knew. so, i agree with you and i wrote it in my large post, that avid is everywhere ( i think i said 98% penetration of "working ace editors"), and i at one point had 20 avid edit bays going 24/7 for a network i was running, it would make my life much easier if i could say to my clients, yes we shoot on redcode and then just hit this switch and all the footage propagates into any flavor avid and is pre-bin'ned up by scene. but then again i root for the kings to win the stanley cup, so sanity is not my forte.

in two/four months this will all be solved anyway, so we are just splitting hairs...

all i was suggesting is that at some point, if things do not change with regards to making the red codec avail to avid et. al., then we as camera owners are also going to be tasked with spreading the FCP solution in order to continue to rent our cameras.

the job i did two weeks ago had to spend $5,000 for hd-cam sr dubs and then digibeta dubs of those to edit the project on a system 9 avid...so i am just trying to share my experiences so you will not have to re-live some mistakes i made like not being more clear on exactly what version of avid the editor was using. if i had known, i could have prepared the producer and director whom then could have informed the client that this overage was coming down the line, and or they could have decided to shoot less 2k 80fps footage and more 24fps 4k footage and end up with less overall footage and thus less expensive video tapes.

[Patrick Tresch]

OK.
I think you are right with the "wait something is going" attitude.

Have nice shoots!

Pat

[eclipse]

I like reading comments that are relevent thanks Dino

[Steve Sanacore]

Great reading - can't say it enough. There seems to be quite a few novices on here and they need to understand what they are getting into. Especially to protect RED's reputation from being dulled because of inexperienced new users - who just don't have a clue.

I spent all last week on a set straightening people out :-)

But I am tired of telling them - I can't wait to show them!

[Steve Sanacore]

to answer a common question:

why an iMac vs MAC Book Pro.

unless you are shooting your own project and you do not have to see the images every five seconds, then i strongly suggest the iMac. your clients will thank you, here is why...

video resolution:
17" mac book pro 1680 x 1050 native resolution

24" iMac 1920 x 1200 native resolution


proc speed:
mac book pro - 2.4 ghz max

imac 2.8 ghz max


monitor size:
17" ( 14.5" x 9.25")

24" (21.5" x 13.5")

lots more picture to see, higher resolution, faster chip.

now if you are on location outside and do not have power, all bets are off go with the mac book pro; but on a set; iMac rules, 5 minutes to set up and superior quality image for a nice price.

dino

Isn't the video card in the 17" hires Macbook Pro is faster though? I am looking at the same options.

[Joseph Mastantuono]

Isn't the video card in the 17" hires Macbook Pro is faster though? I am looking at the same options.

New MBP is 1920x1200.

Any situation where you could use the iMac is a situation where you'd have a monitor on set, and playback, in my opinion, is infinitely less useful than an onset monitor.

Also, an iMac is infinitely less private, totally open, and are you sure you want your playback visible to all your cast and crew? sometimes yes, sometimes no. I'd take an MBP over an iMac in every single set situation I can imagine.

[MikeCurtis]

I was going to say what about newer macbook pros with 1920x1200 and 2.6GHz profs. Haven't double checked the GPU specs lately to say how those compare.

You can also do what I did in NYC with Offhollywood on set- take a MBPro (preferably 1920 RES) and ALSO a 30" ACD...

[dino g]

you are right the MBP with the faster card is 1900 x 1200; but still much smaller and of course you need at least one (better than mac) on set monitor that is high res for the director/video village et. al.

i will say that in my experience, i have had every single director, producer, agency and client, come over to check out the footage on redcine/red alert, fcp and just plain old qt's. and it is much easier to see with a bigger monitor, just my opinion. and i have 3 mbp's in my kit.

[jimhare]

I've learned a hell of a lot reading your posts Dino. Thanks so much for the valuable information and keep it coming.

I'm going in with eyes open, dates flexible, check book blank, and patience at maximum. I've lived on the bleeding edge so long I don't think I could use something tested and proven.

Can't wait.

Jim
P.S. I have three Media 100s and a couple of Sonic Solutions Creator systems in the back room if anyone has doors they need held open or papers held down...
:rip_1: :rip_1: :rip_1: :rip_1:

[Ash Bolland]

There are thousands of people that come and go on these boards every day. There are only about 20-30 of us that actually own cameras and are not directly or indirectly affiliated with RED.

I am one that is not affiliated with RED, nor do I own a rental house, rather I am a producer/director/editor that knew very early on that this would be the greatest thing since the Jazz Singer allowed us to hear sound in movie theatres in 1929.

In the spirit of camaraderie and brotherhood I want to share some of my experiences over the last 45 days, so that you all do not have to go through some of the pain i have experienced.

First, (and this has been said in many places and in many different ways, but allow me to reiterate), if you think that your camera will cost you 17,500 you are dead wrong. if you think that the more likely figure of $35-40k is what you will end up spending, you are also wrong. you MUST also purchase support gear if you want to use your camera for yourself and you MUST purchase even more gear if you expect to be an owner/operator/rental guy/gal.

Second, once you take possession of your camera, you are now in a legitimate GANG. a gang that is bound by some of the same principles and rules as any street game or team. we must be loyal to our boss, in this case red...

These camera are not done. they work and do an awesome job, but we want more and so will you. if we bitch and moan and publicly de-face the company, outsiders cling on to that information and suddenly we have a 10 pound door stop. Jim doesn't need your money, but he is the only Billionaire that i know ( and i know many) that sits on a bulletin board and answers random questions from his customer (current/future and potential customers). he and the team he has assembled are unparalleled in their quest for 100% customer satisfaction, not 99% or 99.99% but 100%, which is a perfect score with no errors/ ERROR-Proof.

I have a suggestion for owners coming in this week, if you have a question, PM a few owners (1-50) first, call or email red second, then go to the board for your answers as a last resort. the red team is a dedicated and focused bunch, but so are 1-50 and many of us are more than willing to help the new owners, who knows we may need to partner with you someday for a multi-camera shoot.

Support your teammates - let's continue to help each other because a bad experience for a producer/director/dp is a lost customer for all of us.

Third, DO NOT EXPECT TO GET YOUR CAMERA FRIDAY AND RENT IT OUT ON SATURDAY. please use your camera for a week or two on your own. Learn the menus, shoot under all conditions, extract the data, play with red-alert cut some footage on final cut....know your shit backwards and forward before you show up on set because if you do not it will be a disaster for not only you but for RED and the other OWNERS. you are representing us ALL, act accordingly.

You will know more about RED then every single person in the room and on set. Know it, learn and know it all. be patient, and by all means have a presence in the field, cause you are the expert and you are the one representative of us all at that moment, in that place.

Fourth, BEING A DIT/RED TECH/OWNER ON SET IS A HUGE RESPONSIBILITY. Unlike any other recorded medium, RED requires patience , speed, dedication, knowledge and expertise. the job of running through menus to change a setting (fps, asa, format, monitors, test screens, white balance, shutter speeds...) is a full time job on set, ONE FULL TIME PERSON PER CAMERA BODY TO STAY WITH CAMERA CLOSE TO THE DP & DIRECTOR. This person can not also be the ingest/let me see how it looks guy/gal. that is a separate person PER CAMERA BODY. IF YOU THINK YOU CAN RENT YOUR CAMERA AND BE ON A PROFESSIONAL SET WITH A CREW LARGER THAN A PROFESSIONAL FOOTBALL TEAM AND BE BY YOURSELF SUPPORTING THE DP/DIRECTOR/PRODUCER/EDITOR AND GET ALL THE CF CARDS OFF LOADED AND MIRRORED ON MULTIPLE DRIVES, LET ME TELL YOU SOMETHING -----YOU CAN NOT!

You must bring a small staff to help you in that situation. I recently rented my camera (and a second body) to a very well established production company that was producing a very high budget promo for a new cable show featuring one of the top 10 celebrities in the World, it was high pressure and the staff i brought preformed flawlessly. but without them, it would have been a bust.

Fifth, ASK QUESTIONS BEFORE YOU RENT, MAKE SURE EVERYONE (DIRECTOR/DP/PRODUCER/AC'S/EDITOR/POST HOUSE) IS ON THE SAME PAGE. make sure you and they have established a proper workflow from camera to drive to bay to color to delivery. know the weak links. If the "Star Editor" whom has won countless MTV awards & Clio's. will only work on an AVID system from the mid 90's because it runs on OS9 and never crashes and is what he knows and is the only editor that the award winning director trusts, then know a work around to the published (this board) workflow scenarios. [CALL STEPHEN BERES AT PLASTERCITY DIGITAL POST 323-469-9800 IF YOU WANT THE BEST OF THE BEST TO HELP WITH CONFORMING TO WHAT EVER THE NEEDS ARE or Chris Blythe at RIOT].

Sixth, KNOW THAT YOU WILL BE THE FIRST PERSON DOING WHATEVER IT IS YOUR DOING AND THAT THE ONLY PEOPLE ON THE PLANET THAT CAN HELP -- YOU-- FIGURE THIS SHIT OUT IS 1-50 & RED. be prepared for...WE HAVE NEVER DONE IT THAT WAY...WHY, HOW COME, IT COSTS HOW MUCH???? OR BETTER YET, NO, WE CAN NOT DO THAT.

KNOW that 98% of every major post house on the planet uses AVIDS and they do not own intel based macs as a rule and most highly paid professional editors that are ACE editors do not know FCP. so be prepared to teach, nurture, cajole them into getting the FCP religion.

YOU ARE A PIONEER, YOU WILL GET ARROWS SHOT AT YOU FROM IN FRONT OF YOU BEHIND YOU AND FROM THE SIDE. be prepared to answer all the questions, be prepared to do 10 demos before you get one rental. there is a lot at stake for this to not happen, we are all changing the way this system works and there will be supporter and detractors, feed off the supporters and listen to the detractors and if you are armed with the knowledge, then you and the camera and specifically the properly exposed and composed imagery will mitigate the detractors concerns.

Seventh; HAVE A SYSTEM. figure out a physically system for extracting data off the CF cards, because it can get tricky.

Eighth. BUY A 24" IMAC WITH 4 GIGS OF RAM. 1920 X 1200 MONITOR RESOLUTION, 800 FW, COMPACT...YOU WILL THANK ME LATER. It is what the High end Digital photogs use because the monitor is world class and the form factor is elegant and by all means functional.

9th - have at least 4 batteries and two chargers and at least 10 cf cards, short of that and you will be in trouble on a pro set.

I want you all to be successful because one day you too will be busy and i may not be and i want that business that u are turning away and vice versa.

enjoy,

dino





I have to say That I don't agree with this post, and I find it quite negitive towards Red and young film-makers.

I think who ever reads this forum should know your not joining some sort of 'brotherhood' boys gang - and you will be able to use the Red anyway you feel fit. Also you be shooting away with your Nikkon / Cannon/Still/Ebay lens in no time for under 25k - filming-making is art -there are no rules - have fun.



-

[Anders Holck]

The MBP is unfortunately using a Nvidia GPU, not the ATI.

[Ed Watkins]

I have to say That I don't agree with this post, and I find it quite negitive towards Red and young film-makers.
-

I aggree, and I don't.

Firstly, I'm not entirely sure why most people on this board assume that the RED will only be used for high pressure commercial applications. I'm a young documentary filmmaker. I have no intention of using my RED's on Big budget film sets (they probably wouldn't want me any way).

Secondly, I also dislike this talk of gangs, it smacks of elitism. And find the idea of inexperienced people 'spoiling' it for others a bit odd. In any industry there are people you trust and those you don't. The RED camera is just that, a camera - a tool.

I wouldn't expect a newcomer to the construction industry to get hired to build the empire state building just because of their tools. If they were, then more fool the foreman.

Personally I plan to use my cameras for my doc work and then rent them out to commercial shoots with a trusted commercially trained DIT, be they a RED NINJA or some one else.

I'd probably be the DIT for smaller, low profile/budget shoots (to build my experience), but for larger shoots I will undoubtedly hire/recommend someone with the necessary experience.

My point is, be realistic, a tool is just a tool, don't apply for jobs you aren't qualified for.
You don't need to be in a gang to make your tools work for you. It does, however, help to be in a supportive group, and that is what this forum should be.

[Babu Kantamneni]

Both points are valid.
The analysis in real world big production and the expertise needed and investment neede for accesaries is also right
Gang, brotherhood or family just happened because we are together and someway connected for last couple of years.
But in its lean form(current HVX,RR Micro) any young talent can play with this without much additional cost!
I dont know what i will do with my 2 reds next month but I am excited.
I really liked above posts.

[dino g]

I wrote this post in mid october, 45 days ago approximately, many many things have changed since then, so please take the original post with a grain of salt.

shoot shoot shoot

[Radoslav Karapetkov]

I have a suggestion for owners coming in this week, if you have a question, PM a few owners (1-50) first, call or email red second, then go to the board for your answers as a last resort. the red team is a dedicated and focused bunch, but so are 1-50 and many of us are more than willing to help the new owners, who knows we may need to partner with you someday for a multi-camera shoot.

Can someone of the superiors confirm that this is the preferred method for Q & A gradation? So that we know.

Isn't it more logical to use the forum first, so that the threads\answers can be preserved in order to make them searchable by anyone interested?

Of course, search should always come before posting a question.

Thanks.

[dino g]

do whatever works, my comment was merely a suggestion.

[dino g]

do whatever works, my comment was merely a suggestion.

[Anthony Gratl]

...but then again i root for the kings to win the stanley cup, so sanity is not my forte...

oh I don't know about that kosmos, have you heard of the "leafs". The way people cheer around here in Toronto, you'd think they win the cup every year. Intimidating name aside, i've always loved the "leafs" spelling too, should really be the leaves.....

[Blair S. Paulsen]

First of all a disclaimer; I know Dino, I respect him and since I have been doing a fair bit of high end work I find his takes quite accurate. That said, I acknowledge that there are many folks who will be making wonderful shows with minimal gear. The fact that the RedOne can make those pieces look better is great - good on ya'.

My full kit for #19 includes accessories and support gear totaling over $70K including the camera body. I have done small crew and large crew shoots at diverse budget levels. I have mounted a wide variety of lenses on the rig. What have I learned?

The character of the lens will reveal itself on the RedOne, count on it. The quality of the lighting will dramatically impact the image you get. The professional production environment is a very evolved ecosystem and to integrate the RedOne into it you need the right accessories.

[dino g]

and the right attitude and experience, count on that.

with each new change to the camera and each new firmware build, the camera gets easier to use and more robust, but that will not change how you will react when something happens that is unexpected, which always happens whether it be video tape, film or cf cards.

again, learn your camera before you go out and always go with it unless you are renting it to a seasoned owner like some of those on this board.

[chuckt]

Both points are valid.
The analysis in real world big production and the expertise needed and investment neede for accesaries is also right
Gang, brotherhood or family just happened because we are together and someway connected for last couple of years.
But in its lean form(current HVX,RR Micro) any young talent can play with this without much additional cost!
I dont know what i will do with my 2 reds next month but I am excited.
I really liked above posts.

Hey, if you have 2 coming, pl. give me one for a month. I need for a feature film shoot. I am going to do it with RED. I won't get mine until June. a11@mail.com