Ask Jim Jannard

David Knaggs · March 19th, 2008, 06:00 AM

Quote:

Originally Posted by Jim Jannard

Maybe this forum needs more direct connection with the RED team? If that is the case, please ask more questions. I visit here often. I like Chris. I like this forum. I'm here. Ask away.

Jim

Forgive my presumptuousness, Jim and Chris, in giving this thread such a title, but I felt that Jim's kind offer didn't deserve to be permanently hidden away in a thread entitled, "New Red firmware: beta build 15".

And I realized earlier today that I do actually have two questions myself which I'd like answered (no matter how dumb they might seem to others), so I'll kick off this thread.

1/ White balance
I'm completely unfamiliar with Digital SLR shooting, which I believe was one of the principles behind RED's development. When I'm doing my camera set-ups when I'm shooting 720p with my JVC ProHD camera, I always do a white balance (and I have a set of "warm cards", etc.).

But I'm getting the idea that, with the RED camera, you don't bother with a white balance at all. Is this correct? Incorrect?

And, if correct, is there any other type of adjustment that needs to be made concerning color temperature with the RED camera? Or is it all left to post-production?

2/ On-set LUT (Look-Up Table)
We're thinking of hiring a RED for a TV commercial in a few months time (I want to hire before I buy, because it's all such a new way of working for me, plus it will give me a better idea of the exact accessories we'll need to later get). I'll bring in a cinematographer to shoot it and I expect he'll set the image to look rather flat so that we capture the most information. But it's a real concern if the client is on-set and wants to look in the monitor. I know that Stu Maschwitz and others earlier requested a feature so that a non-destructive LUT can be included as metadata while shooting with the RED One. In this way, you can get a feed out to the monitor on-set showing your image as you would like it to ultimately appear (and keep the clients happy!) while recording the flat image to the drive.

Now to the question. Are there plans to implement this capability in future builds? (Or did it already happen and I just didn't notice?)

Thanks, Jim.

Jon Fairhurst · March 19th, 2008, 12:35 PM

I haven't used the RED, but I would assume that you'd still want to shoot the cards, even if all of the correction will be done in post. In fact, you could shoot a whole collection of white/gray/black/color cards in production, giving you lots of helpful references for downstream processing.

Scott Webster · March 19th, 2008, 05:16 PM

Quote:

Originally Posted by David Knaggs

1/ White balance
I'm completely unfamiliar with Digital SLR shooting, which I believe was one of the principles behind RED's development. When I'm doing my camera set-ups when I'm shooting 720p with my JVC ProHD camera, I always do a white balance (and I have a set of "warm cards", etc.).

But I'm getting the idea that, with the RED camera, you don't bother with a white balance at all. Is this correct? Incorrect?

Yes you can still white balance in the manner you're use to but it is still recorded as metadata and not baked into the image. This means the value can be adjusted in RedCine or Red Alert before committing for output.

Most of our shoots production have run with the traditional presets 3200/5600 or adjusted for monitoring for the clients benefit (warming or cooling the image).

Our experience has been the preset values do need some adjusting in RC or RA prior to output.

If coming from the JVC your main obstacle will be getting past the notion of WYSIWYG. The output from Red should only be considered as a very good video tap.

Quote:

Originally Posted by David Knaggs

2/ On-set LUT (Look-Up Table)
We're thinking of hiring a RED for a TV commercial in a few months time (I want to hire before I buy, because it's all such a new way of working for me, plus it will give me a better idea of the exact accessories we'll need to later get). I'll bring in a cinematographer to shoot it and I expect he'll set the image to look rather flat so that we capture the most information. But it's a real concern if the client is on-set and wants to look in the monitor. I know that Stu Maschwitz and others earlier requested a feature so that a non-destructive LUT can be included as metadata while shooting with the RED One. In this way, you can get a feed out to the monitor on-set showing your image as you would like it to ultimately appear (and keep the clients happy!) while recording the flat image to the drive.

Now to the question. Are there plans to implement this capability in future builds? (Or did it already happen and I just didn't notice?)

Thanks, Jim.

'Look' ability as you have described will be available in future builds, 16+ (probably) The current image displayed has a 709 gamma applied (effectively a Look) You can do minor tweaks (Saturation, Brightness and Contrast) to that on camera and that is displayed on monitor, but recorded as metadata. When you process your material through RC or RA you can accept the original values recorded or completely change them.

I see you're in Melbourne. Get in contact with Lemac and see if you can set up a time to go over the camera or if they are having any local info events.

Jim Jannard · March 20th, 2008, 12:02 AM

The only thing I can add is that when you set WB in camera, it does show the effect on the monitoring. So you can see what color balance looks like with what you have set. Because it is RAW, you can (as Scott correctly points out) change it or tune it in post. You are not "stuck" with what you chose to look at during recording.

Jim

Mike Teutsch · March 20th, 2008, 07:16 AM

Thanks for this very informative thread. I needed this info too.

Mike

David Knaggs · March 20th, 2008, 07:49 AM

Quote:

Originally Posted by Jon Fairhurst

In fact, you could shoot a whole collection of white/gray/black/color cards in production, giving you lots of helpful references for downstream processing.

Thanks, Jon. Yes, I always shoot a Macbeth chart as part of my standard set-ups.

Quote:

Originally Posted by Scott Webster

Yes you can still white balance in the manner you're use to but it is still recorded as metadata and not baked into the image. This means the value can be adjusted in RedCine or Red Alert before committing for output.

Most of our shoots production have run with the traditional presets 3200/5600 or adjusted for monitoring for the clients benefit (warming or cooling the image).

Our experience has been the preset values do need some adjusting in RC or RA prior to output.

Thanks for the excellent answer, Scott.

Quote:

Originally Posted by Scott Webster

If coming from the JVC your main obstacle will be getting past the notion of WYSIWYG.

Bingo! I just looked up the definition of "paradigm shift" and it says, "a fundamental change in approach or underlying assumptions". That sums it up 100% for me right now.

Quote:

Originally Posted by Scott Webster

'Look' ability as you have described will be available in future builds, 16+ (probably) The current image displayed has a 709 gamma applied (effectively a Look) You can do minor tweaks (Saturation, Brightness and Contrast) to that on camera and that is displayed on monitor, but recorded as metadata. When you process your material through RC or RA you can accept the original values recorded or completely change them.

Great!

Quote:

Originally Posted by Scott Webster

I see you're in Melbourne. Get in contact with Lemac and see if you can set up a time to go over the camera or if they are having any local info events.

Yes, Lemac is where we'll be hiring from. I've been waiting for them to hold a RED info event, but I think I'll follow your advice and we'll make an appointment. I need to price everything out anyway.

Quote:

Originally Posted by Jim Jannard

The only thing I can add is that when you set WB in camera, it does show the effect on the monitoring. So you can see what color balance looks like with what you have set. Because it is RAW, you can (as Scott correctly points out) change it or tune it in post. You are not "stuck" with what you chose to look at during recording.

Thanks, Jim!

My next question (yeah, I know I started out with only two, but this one affects a purchasing decision) concerns an aid to focusing.

Originally I've only been looking at buying RED ONE for features and TV commercials (using a cinematographer and crew). But I do all the corporate shooting myself and I've found myself increasingly required to do product shots, etc. which are then used as sales aids and distributed to their clients.
I've found that oversampling works great (720p downconverted to PAL DVD) and my clients LOVE it. So I've been looking at getting a new 1080p camera for corporate work and then later a RED for features/commercials. But now I'm thinking, "Since oversampling is proving such a winner with my corporate clients, why not use the RED for all three?"

I recently saw a web video showing the RED One in a stripped down ultra-light 22 lbs. configuration for "ENG, documentary and hand-held" usage. But the critical point for me with corporate shooting is maintaining focus. I can't lug around a large HD monitor, especially when I'm in the field shooting machinery, etc.

My JVC (which has a manual lens) has a "focus assist" function which shows the area of focus in blue. (And I use it frequently!) I read some time ago that Graeme was supposed to be working his magic on something that would help focusing in 4K without the need for a large monitor. What's the status of this, and could this function make it feasible for a "one-man-band" corporate shooter?

_

Steve Gibby · March 20th, 2008, 11:42 AM

David Knaggs,

Here's some insight into using RED ONE that may help answer a lot of the questions you may have:

Me, GibCor, and our alliance company own six RED cameras, with two more to be delivered shortly. We’ve been shooting with them for over six months now, in a wide variety of styles: cine-style, EFP style, and hybrid cine/EFP style. We’ve shot extensively with 35mm cine primes and zooms, some 35mm still lenses, and B4 2/3” HD EFP/ENG zooms. We’ve shot extensive aerials (helicopter and fixed wing), extensive underwater, with cranes, jibs, stabilization units, and abroad range of tripod and hand held terrestrial footage. Projects have included features, television programs, commercials, high-end business media, stock footage, and many more. As you might guess, our kit setups have ranged from bare bones mobile 1-person setups, to max-accessorized gigantic rigs.

So, what have we learned about RED ONE in all this? A few thoughts:

The camera essentially becomes what you accessorize it to become, whether that be cine style, EFP style, or hybrid cine/EFP style.

The camera can be effectively used in a large crew cine or EFP environment, or quite easily used by a single operator.

The biggest challenge for most RED ONE users is for them to develop broad enough skill sets, and open-minded attitudes, to effectively match what the camera itself is capable of being used for.

There are very few “right” ways or “wrong” ways to use the camera, though many biased or elitist individuals protecting their turf will try to claim there are.

Used correctly, the camera generates excellent images – which is the bottom line, and what we’re all after.

Users of the camera come from a broad range of backgrounds; film, television, video, still photography – thus attitudes, experience, biases, and prejudices will vary.

The camera’s technology is most closely related to a DSLR, moderately related to a TV/video camera, and only remotely related to a film camera.

An all-manual workflow has its limitations, thus the electronics incorporated in RED ONE are there to be used to modify the workflow when wanted.

Imaging professionals do use the right toll for the job, and sometimes that tool involves some auto features. DSLR pros regularly use autofocus when a job calls for it. TV/video pros regularly use some auto features when necessary (iris, etc.). They are no less “pros” than all manual film professionals.

Focusing 4k with RED ONE can be done effectively by traditional methods, using measuring tapes, focus pullers, scales, etc, or alternately by sight focusing using the EVF, LCD, 2x image magnification, and the other focus tools (B/W, edge highlight). Real “pros” match their focusing methods to the demands of the task at hand. 1:1 would be nice, but the camera can be focused just fine with the tools it presently has.

In competent hands, the exposure can be set accurately with the camera using traditional methods (hand meter, etc.) or by using the camera’s electronics (zebra, etc.). If someone isn’t competent, they can blow exposure on the camera, but there really isn’t any “rocket science” involved with exposing RED RAW efficiently. Practice makes perfect.

RAW is different than shooting RGB. DSLR pros coming to RED have a jump on that. TV/video pros used to shooting RGB have a moderate learning curve in approaching RED ONE. Film types, who haven’t traditionally used (or trusted) electronics on a camera, will tend to stay with the safe (read “manual) procedures. They’ll be real familiar with cine lens use on RED ONE, but generally unfamiliar and/or untrusting of the electronic features.

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

END NOTES:

There are very few right ways or wrong ways to use RED ONE. If you’re getting well exposed and well focused images from the camera you’re using it the “right” way, if not, you’re using it the “wrong” way. Beyond the large crew cine-style productions GibCor has done or been a part of, I have personally shot petabytes of RED ONE footage over a six month period all by myself, with absolutely no assistant, sight focusing the camera by myself using the EVF or LCD, plus RED’s existing focusing tools, and quickly exposing the images using zebra or with more time also using the histogram. I respect both the traditional manual workflow (and use it at times), and also respect the more progressive “use the camera’s electronics, small crew or single operator” workflow. GibCor matches the best and most effective lenses, accessories, and workflow procedures to each project, and keeps a continually open mind for modifications of our workflows and equipment.

I think there is no need for “my way is right” rhetoric, realizing that RED ONE users can come from multiple professional imaging backgrounds, and rather than waste energy protecting our little fiefdoms or turf, we should simply exchange creative ideas for using RED ONE. GibCor and our associates are not strictly cine-style, EFP style, or hybrid cine/EFP style in our approach – we’re all those. We pick the most appropriate style and equipment for our RED ONE cameras for each individual project.

Again, we own six REDs (with two more on the way) and we've used them for over 6 months now in a wide array of styles and genres. Using our REDs, we currently have multiple television programs in production for international and national distribution in 2009, and a feature movie for screening in 2009.

Hopefully this insight will help you David.

If you look at the top of this forum stickies you'll see a December 2005 post of mine defining what I felt RED ONE would mean to the motion media industry. This post of mine is a follow-up to that one, 21/2 years later, and with a half year of hands on experience using RED ONE.

David Knaggs · March 20th, 2008, 12:58 PM

Quote:

Originally Posted by Steve Gibby

Focusing 4k with RED ONE can be done effectively by traditional methods, using measuring tapes, focus pullers, scales, etc, or alternately by sight focusing using the EVF, LCD, 2x image magnification, and the other focus tools (false color, edge detail). Real “pros” match their focusing methods to the demands of the task at hand. 1:1 would be nice, but the camera can be focused just fine with the tools it presently has.
...

I have personally shot petabytes of RED ONE footage over a six month period all by myself, with absolutely no assistant, sight focusing the camera by myself using the EVF or LCD, plus RED’s existing focusing tools, ...

Thanks for your very comprehensive post, Steve. It's funny, but when I was making my earlier post I was thinking in the back of my mind, "I know Steve Gibby has shot a lot of one-man RED footage. I wonder how HE achieves correct focus in 4K?"

Well, now I know. And then some! You're definitely a pioneer in opening up people's minds to the possibilities with this camera. And it's working!

John Beale · March 20th, 2008, 04:26 PM

Quote:

Originally Posted by David Knaggs

My JVC (which has a manual lens) has a "focus assist" function which shows the area of focus in blue. (And I use it frequently!) I read some time ago that Graeme was supposed to be working his magic on something that would help focusing in 4K without the need for a large monitor.

My understanding is that the current Red firmware (#15) includes a focus assist feature something like this: the viewfinder can be set to a monchrome image, and a red color appears to outline the in-focus region. However, I have not seen this firsthand.

The feature is discussed here, there is even a photo of a LCD in this mode (although as people are noting, it is a bit difficult to see)
http://www.reduser.net/forum/showthr...t=focus+assist

Don Donatello · March 20th, 2008, 04:59 PM

i would say shoot anyway you feel confortable .. if you like white/grey/black balance's then by all means do them as often as you want/need ...

i use 2 settings daylight & tungsten ... i have a film backgound so those 2 settings are my comfort zone/experience ... i use a light meter & color meter for setting T stop and to set lights ( daylight & tunsten units) .... currently using firmware 13 ( think they now have 15) .. i use ISO 320 for daylight and 250 for tungsten ... my next firmware upgrade will be 16 so those ISO ratings could change ...

Scott Webster · March 20th, 2008, 05:10 PM

Quote:

Originally Posted by John Beale

My understanding is that the current Red firmware (#15) includes a focus assist feature something like this: the viewfinder can be set to a monchrome image, and a red color appears to outline the in-focus region. However, I have not seen this firsthand.

The feature is discussed here, there is even a photo of a LCD in this mode (although as people are noting, it is a bit difficult to see)
http://www.reduser.net/forum/showthr...t=focus+assist

We did camera lens tests (Zeiss Super Speeds) on Tuesday using the 'Edge Highlight' function and the Red 2x Zoom in function. The AC liked the tools.

The current implementation of the colored highlight may be lighter than some like but it does make you concentrate on the image more ;)

Red may be able to offer something like the EX-1 with low, medium, high settings in future builds.

The only downside is that Edge Highlight and False Color exposure share the same menu control option. When using the EVF, the top button is linked to the last assist used. Your DP may want it set to False Color Exposure but your AC wants Edge Highlight for focus checks...

Mapping of User buttons hasn't been fully implemented yet so there is the possibility that one of those choices could be mapped to User 1 or 2 of the camera side buttons. Or they may have to separate those 2 choices out from the one menu as they would be 2 of the most popular assist options on the Red.

Don Donatello · March 20th, 2008, 05:17 PM

questions for Jim J

will the 2 18-85 zooms be at NAB for us to get our hands on it ( as in mounted on a RED that is working ) ...

when the 18-85 starts shipping - what order are you going to ship -
IE: many have received serial numbers for the 18-85 and i believe many have switched over to the 18-50 ... the serial numbers on camera's are added to body as you ship but it seems the lens will come with serial numbers engraved ??

any chance we can return the 18-50's for the 18-85 ??

how about some info on the primes that were at NAB last year ?
that i was hoping to receive last december ?
i assume you'll have some working primes at NAB ?

what about the craddles that do not lock in the hard drives ..
when are the rails ( on craddle) going to be replaced ? gaffers tape just doesn't look right .......

any chance the line will be shorter/quicker to get into the RED tent this year?
how about you let us enter by Red # ??

you going to the Red party ?

Jim Jannard · March 20th, 2008, 10:11 PM

Quote:

Originally Posted by Don Donatello

questions for Jim J

will the 2 18-85 zooms be at NAB for us to get our hands on it ( as in mounted on a RED that is working ) ...

when the 18-85 starts shipping - what order are you going to ship -
IE: many have received serial numbers for the 18-85 and i believe many have switched over to the 18-50 ... the serial numbers on camera's are added to body as you ship but it seems the lens will come with serial numbers engraved ??

any chance we can return the 18-50's for the 18-85 ??

how about some info on the primes that were at NAB last year ?
that i was hoping to receive last december ?
i assume you'll have some working primes at NAB ?

what about the craddles that do not lock in the hard drives ..
when are the rails ( on craddle) going to be replaced ? gaffers tape just doesn't look right .......

any chance the line will be shorter/quicker to get into the RED tent this year?
how about you let us enter by Red # ??

you going to the Red party ?

Lots of questions here!

Yes to shorter lines (I think). We have a different format.

Yes you can put your hands on the 18-85mm at NAB. You'll like it.

We'll ship the 18-85mm zooms in the most fair way possible. Starting in a couple of months, we should be able to assemble about 50 per month.

No to returning your 18-50mm for the 18-85mm. I assume you have been using it?

Working on cradle fix.

No to the party... but have fun!

See you there.

Jim

David Knaggs · March 21st, 2008, 12:29 AM

Quote:

Originally Posted by Scott Webster

Or they may have to separate those 2 choices out from the one menu as they would be 2 of the most popular assist options on the Red.

I'll add my vote to that!

And thanks to all who responded.

Lauri Kettunen · March 21st, 2008, 02:06 AM

Jim,

As you know many find the Birge EF-adapter vital for what ever they plan to do with Red One. But, as you may know there is some uncertainty what is the true status of the Birger mount. Is it possible somebody from Red spoke with Erik to find out a somewhat reliable estimate of delivery?

March 19th, 2008, 12:35 PM	#2
Jon Fairhurst Trustee Join Date: May 2006 Location: Camas, WA, USA Posts: 1,072	I haven't used the RED, but I would assume that you'd still want to shoot the cards, even if all of the correction will be done in post. In fact, you could shoot a whole collection of white/gray/black/color cards in production, giving you lots of helpful references for downstream processing. __________________ Jon Fairhurst FRESH FILMS WEEKLY AT COLONELCRUSH.COM.

March 20th, 2008, 07:16 AM	#5
Mike Teutsch Inner Circle Join Date: Oct 2004 Location: Port St. Lucie, Florida Posts: 2,611	Thanks for this very informative thread. I needed this info too. Mike __________________ Chapter one, line one. The BH. Last edited by Mike Teutsch; March 20th, 2008 at 07:17 AM. Reason: forgot thread!

March 20th, 2008, 11:42 AM	#7
Steve Gibby Major Player Join Date: Apr 2005 Location: Calif & worldwide Posts: 369	David Knaggs, Here's some insight into using RED ONE that may help answer a lot of the questions you may have: Me, GibCor, and our alliance company own six RED cameras, with two more to be delivered shortly. We’ve been shooting with them for over six months now, in a wide variety of styles: cine-style, EFP style, and hybrid cine/EFP style. We’ve shot extensively with 35mm cine primes and zooms, some 35mm still lenses, and B4 2/3” HD EFP/ENG zooms. We’ve shot extensive aerials (helicopter and fixed wing), extensive underwater, with cranes, jibs, stabilization units, and abroad range of tripod and hand held terrestrial footage. Projects have included features, television programs, commercials, high-end business media, stock footage, and many more. As you might guess, our kit setups have ranged from bare bones mobile 1-person setups, to max-accessorized gigantic rigs. So, what have we learned about RED ONE in all this? A few thoughts: The camera essentially becomes what you accessorize it to become, whether that be cine style, EFP style, or hybrid cine/EFP style. The camera can be effectively used in a large crew cine or EFP environment, or quite easily used by a single operator. The biggest challenge for most RED ONE users is for them to develop broad enough skill sets, and open-minded attitudes, to effectively match what the camera itself is capable of being used for. There are very few “right” ways or “wrong” ways to use the camera, though many biased or elitist individuals protecting their turf will try to claim there are. Used correctly, the camera generates excellent images – which is the bottom line, and what we’re all after. Users of the camera come from a broad range of backgrounds; film, television, video, still photography – thus attitudes, experience, biases, and prejudices will vary. The camera’s technology is most closely related to a DSLR, moderately related to a TV/video camera, and only remotely related to a film camera. An all-manual workflow has its limitations, thus the electronics incorporated in RED ONE are there to be used to modify the workflow when wanted. Imaging professionals do use the right toll for the job, and sometimes that tool involves some auto features. DSLR pros regularly use autofocus when a job calls for it. TV/video pros regularly use some auto features when necessary (iris, etc.). They are no less “pros” than all manual film professionals. Focusing 4k with RED ONE can be done effectively by traditional methods, using measuring tapes, focus pullers, scales, etc, or alternately by sight focusing using the EVF, LCD, 2x image magnification, and the other focus tools (B/W, edge highlight). Real “pros” match their focusing methods to the demands of the task at hand. 1:1 would be nice, but the camera can be focused just fine with the tools it presently has. In competent hands, the exposure can be set accurately with the camera using traditional methods (hand meter, etc.) or by using the camera’s electronics (zebra, etc.). If someone isn’t competent, they can blow exposure on the camera, but there really isn’t any “rocket science” involved with exposing RED RAW efficiently. Practice makes perfect. RAW is different than shooting RGB. DSLR pros coming to RED have a jump on that. TV/video pros used to shooting RGB have a moderate learning curve in approaching RED ONE. Film types, who haven’t traditionally used (or trusted) electronics on a camera, will tend to stay with the safe (read “manual) procedures. They’ll be real familiar with cine lens use on RED ONE, but generally unfamiliar and/or untrusting of the electronic features. ------------------------------------------- END NOTES: There are very few right ways or wrong ways to use RED ONE. If you’re getting well exposed and well focused images from the camera you’re using it the “right” way, if not, you’re using it the “wrong” way. Beyond the large crew cine-style productions GibCor has done or been a part of, I have personally shot petabytes of RED ONE footage over a six month period all by myself, with absolutely no assistant, sight focusing the camera by myself using the EVF or LCD, plus RED’s existing focusing tools, and quickly exposing the images using zebra or with more time also using the histogram. I respect both the traditional manual workflow (and use it at times), and also respect the more progressive “use the camera’s electronics, small crew or single operator” workflow. GibCor matches the best and most effective lenses, accessories, and workflow procedures to each project, and keeps a continually open mind for modifications of our workflows and equipment. I think there is no need for “my way is right” rhetoric, realizing that RED ONE users can come from multiple professional imaging backgrounds, and rather than waste energy protecting our little fiefdoms or turf, we should simply exchange creative ideas for using RED ONE. GibCor and our associates are not strictly cine-style, EFP style, or hybrid cine/EFP style in our approach – we’re all those. We pick the most appropriate style and equipment for our RED ONE cameras for each individual project. Again, we own six REDs (with two more on the way) and we've used them for over 6 months now in a wide array of styles and genres. Using our REDs, we currently have multiple television programs in production for international and national distribution in 2009, and a feature movie for screening in 2009. Hopefully this insight will help you David. If you look at the top of this forum stickies you'll see a December 2005 post of mine defining what I felt RED ONE would mean to the motion media industry. This post of mine is a follow-up to that one, 21/2 years later, and with a half year of hands on experience using RED ONE. __________________ Steve Gibby RED #8 and several more, www.cut4.tv Last edited by Steve Gibby; March 20th, 2008 at 05:16 PM.

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March 20th, 2008, 12:02 AM	#4
Jim Jannard MADMAN Join Date: Sep 2005 Posts: 354	The only thing I can add is that when you set WB in camera, it does show the effect on the monitoring. So you can see what color balance looks like with what you have set. Because it is RAW, you can (as Scott correctly points out) change it or tune it in post. You are not "stuck" with what you chose to look at during recording. Jim

March 20th, 2008, 04:59 PM	#10
Don Donatello Hawaiian Shirt Mogul Join Date: Nov 2001 Location: northern cailfornia Posts: 1,262	i would say shoot anyway you feel confortable .. if you like white/grey/black balance's then by all means do them as often as you want/need ... i use 2 settings daylight & tungsten ... i have a film backgound so those 2 settings are my comfort zone/experience ... i use a light meter & color meter for setting T stop and to set lights ( daylight & tunsten units) .... currently using firmware 13 ( think they now have 15) .. i use ISO 320 for daylight and 250 for tungsten ... my next firmware upgrade will be 16 so those ISO ratings could change ...

March 20th, 2008, 05:17 PM	#12
Don Donatello Hawaiian Shirt Mogul Join Date: Nov 2001 Location: northern cailfornia Posts: 1,262	questions for Jim J will the 2 18-85 zooms be at NAB for us to get our hands on it ( as in mounted on a RED that is working ) ... when the 18-85 starts shipping - what order are you going to ship - IE: many have received serial numbers for the 18-85 and i believe many have switched over to the 18-50 ... the serial numbers on camera's are added to body as you ship but it seems the lens will come with serial numbers engraved ?? any chance we can return the 18-50's for the 18-85 ?? how about some info on the primes that were at NAB last year ? that i was hoping to receive last december ? i assume you'll have some working primes at NAB ? what about the craddles that do not lock in the hard drives .. when are the rails ( on craddle) going to be replaced ? gaffers tape just doesn't look right ....... any chance the line will be shorter/quicker to get into the RED tent this year? how about you let us enter by Red # ?? you going to the Red party ?

March 21st, 2008, 02:06 AM	#15
Lauri Kettunen Major Player Join Date: Aug 2004 Location: Tampere, Finland Posts: 353	More questions ... Jim, As you know many find the Birge EF-adapter vital for what ever they plan to do with Red One. But, as you may know there is some uncertainty what is the true status of the Birger mount. Is it possible somebody from Red spoke with Erik to find out a somewhat reliable estimate of delivery?