AJA HD10C2 to a JVC dvi monitor – what will I loose?

[Bob Zelin]

the perfect use of the Maxtrox MXO is for the corporate video guy that has to do a presentation in a conference room from his laptop to a video projector. It’s the perfect product.

But for the professional post production business, the HDLink, and HDLink Pro are what you want.

Bob

[Steve Wargo]

[Dylan Reeve] “It’s a camera for $18,000 (we’ll ignore lenses and accessories) that can shoot 4K! “

What a pathetic remark. You CANNOT shoot 4k. It’s a box. Nothing more. Until you add the items that you said to ignore. You are one of the suckers that their marketing plays to. Hey, I can buy a new Corvette for $18k. But hey, it doesn’t have an engine. But so what? It’s a Corvette, right? No. It’s a box, just like the Red.

In other words, for $18K, you cannot record one frame of anything, or can you? It doesn’t even have a handle to carry it around. It just lays on a table. But, you could put it on a table and pray to it.

The Red camera is for serious professionals. The complete kit and the gear needed to edit the files are way up there, my friend. To do it right will cost you between $75k and $100k. Anything less than that is a joke.

The sad part is that they will sell so many of them that they will be worth nothing on the rental market because there will always be some desperate guy who will take anything more that a promise just trying to recoup anything.

Steve Wargo
Tempe, Arizona
It’s a dry heat!

Sony HDCAM F-900 & HDW-2000/1 deck
5 Final Cut (not quite PRO) systems
Sony HVR-M25 HDV deck
2-Sony EX-1 HD .

[Steve Wargo]

[Bryan Fowler] “For storage, I’m just buying 10 or 12 firewire drives, and a couple of firewire hubs and I should be right as rain. And I found an AWESOME wicked HD tv from DYNEX. It even has HDMI. “

I am rolling on the floor with this one.

Steve Wargo
Tempe, Arizona
It’s a dry heat!

Sony HDCAM F-900 & HDW-2000/1 deck
5 Final Cut (not quite PRO) systems
Sony HVR-M25 HDV deck
2-Sony EX-1 HD .

[Tim Wilson]

Dylan’s been shooting a ton of stuff on RED. There’s a great recent article by him on a run-and-gun project he did for the NZ version of the 48-hour film festival. It won top prize from over 230 entries.

Also note that his recommendation re: 2K, etc. is to wait. Decidedly non-pathetic advice.

There was also an article in a recent issue of the Cow magazine (starts on page 17 of the PDF) about shooting 2K for Nissan. It was for the launch of their new Cube at the NY Auto Show, one of the world’s most important venues for new car launches. Their rig ran about $30K, and they’re very specific about the gear in the article. They recommend budgeting for a focus puller, again, decidedly non-pathetic advice.

In both cases, these are pros, shooting widely seen work, with gear very much in keeping with mid-level prices.

It’s not that you’re wrong that a proper rig starts at $75K. Some do. But there’s a wide range of truth — shooting high-profile 2K can be done with a $30K rig. It has been done. Read the story.

It’s just as easy to buy into the anti-hype. Again, not saying you’re wrong, just that there’s wide range of easily verified real-world experience that suggests additional possiblities.

I respectfully recommend standing down. If people have actually done it, and can articulately describe their gear and their work, they’re not suckers.

Yr pal,
Timmy

Tim Wilson
Associate Director, CreativeCow.net
Associate Publisher, Creative Cow Magazine!