colorspace camera?

Its been since monday that i'm searching for somes info about colorspace's camera and the only things that i know (from a guy who went to their booth at NAB) is, according to their information, the 2k camera will be priced slightly higher than RED ($19k i believe) with no lens. According to the person who visit their booth, they didn't have any pictures of the camera itself, but some of the frames they showed where of Vegas locations so at least they seem to have something already portable that shoots stills.

Wandering what price will be the 1k version (1280x960) of their camera !

Any comment mr. colorspace?
 
Hello again, guys. FYI, my name is Adam Burtle (not that I mind, "Mr. Colorspace".. but you're welcome to call me, "Adam" as well).

As far as details, we're a bit scant in that regard, because we're not trying to overpromise-- we want to wait and let the products speak for themselves. The goal of NAB was to announce to the world what we've been working on, and try to get some direct feedback from the diverse group of users available to us at NAB. A huge part of what we're doing is to build products that work for many users, not just for traditional cinema, and getting direct feedback is an important part of that. The good news is that we've gotten some great feedback from NAB users, and that for the most part we've been headed in the right direction.

I know that you guys want immediate results, and i'm sorry to say that we have a more engineering ahead of us before we're ready to publicly debut any products. Engineering takes time, and since the reputation of our company will be built upon these first products, it's important we get it right. Over the coming months, there will be press/partner updates on our website, and if you're plugged in to various "circles" within the cinema communities, you may hear about some of our products being used on location.

For the most part, we prefer to work in the background untill we have some really ground breaking stuff to show-- and I apologize that our "radio silence" may at times seem like we don't know you guys are here patiently waiting for kickass cameras to hit the market, or that it may seem that we don't care-- we do know, and we do care.. passionate cinematographers are the reason for our products to exist.

To briefly answer a few questions:

Availability is still at least 6 months away for the general public.

No clips to download-- but there was sample material (playing at full 2k) in the booth, and I haven't seen a single person say it looked anything other than great.. which is encouraging because I know our final product will perform even better.

The 2k camera (The "True35") will likely be priced a good deal higher than RED ONE. I say "likely" because i'm not sure what the exact final RED ONE price will be (and at what specs), and also because we're still engineering and working on manufacturing, and all sorts of issues could affect our cost to build the camera. The 1k camera (The "True16") should be priced within RED territory. Again, don't quote me.. these are the numbers we're aiming for; the final price could be lower or higher, and will also depend upon the options of the camera (the outputs and workflow you choose). I know everyone wants the best bang for their buck, and that's what we're focusing on-- giving users a powerful yet flexible platform to work from.

Given that I don't browse this board.. if you have any questions, feel free to email us through the site (truecolorspace.com). To everyone that has already emailed us recently asking for general info.. now that NAB is over and we've had a few days to recover, you'll have a reply in the next day or two. If you have emailed us (or do, in the future) asking specific questions, we'll do our best to answer them (or at minimum, we'll be polite when we tell you that we can't talk yet about whatever you've asked ;))


If you need anything, just drop me a line.. thanks.
 
Mr Burtle, NAB is well-over, but your company still has trouble replying to any emails (at all, I mean). I dont know if this is a marketing tactic, but it sure isn't a good one.
 
I can't speak for them and didn't find them at NAB but I imagine that they are a small upstart and don't have a lot of time to respond to everyones emails. They are trying to get their product (which sounds great) finsihed and launched into the market place before some one else does the same and crushes their chances of making back what I'm sure is an enorormous capital cost.

That seems like the best marketing tactic to me. Emailing would rank a little further down on the list.

-rook
 
Rook-- you're correct.. we're a small startup; i can count our employees on two hands, haha. Secondly, before NAB, we were "maintaining radio silence" as such, and weren't in a position to reply with anything substantive. Now, post-NAB, we're more talkative, but very busy a lot of the time.

I just got done replying to your e-mail, Fugitive.. I was in LA the last few days, and didn't have a chance to get to e-mail untill now. That's not an insult to your or anyone else who e-mailed us over the weekend.. it's just the hard reality that we're a small company with a lot going on engineering-wise at the moment, add to that a metric ton of e-mail coming in, and sometimes it can take a day or two for a reply to make its way to you.

On one hand, I could have my assistant reply with a form letter or generic non-technical answer (written to the best of her ability), but it's been my experience that generally when someone sends an email to a company, even if it takes a day or two, a technical [when appropriate] and direct reply from the person most germaine is invariably preferable.

Anyway, apologies for the delay-- I hope you can understand how hectic things are at the moment.
 
Mr Burtle, how do you guys expect to survive with your camera being only 2K and priced higher then the RED?

That's not meant to sound like an attack either, but a serious inquiry. I'm curious.

Bascially what I'm asking is "what more does your camera offer to offset the price/spec difference compared to RED?"
You guys aren't Sony or Panavision. You don't have an established name or system in place to help bolster sales. So why would someone buy a more expensive True35 rather then a RED?
 
Sure, but we're comparing it to future offerings when it itself is a future offering.

If it were on the market right now that would be a different story. That itself would be a huge advantage over RED. But since it's expected release date is around the same as RED's and it's target market is the same, we really are comparing apples to apples.
 
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You are not the only one, roxics... Very good question, indeed! And please, Adam I can figure that you're a busy man but it would be great to have you here during the coming months to answer and info us -- your potential buyers about the development process of your product.

:dankk2: in advance!
 
Roxics-- why would someone buy a $300,000 Lamborghini over a $100,000 Porsche? Why might someone buy a $900 Fendi wallet over a similar $500 Gucci wallet? Or a $1900 G5 over a similarly equipped PC for only $1,000. These are all equivalent to what you're asking.

The short answer is that I can think of a lot reasons one might favor a more expensive product over a less expensive one. Obviously, if price is your paramount concern, the lesser-priced product will have a significant advantage. It's premature to publicly discuss the features of our in-development products, and compare them to the features of other in-development products.. I'm confident when we hit the market, that we'll have a powerful value to offer consumers. Our goal has never been to take over the industry, but rather to give filmmakers what they have been requesting. Ultimately our real competitors are the various companies producing crippled products, not those with the same objectives as us.

As far as 4k versus 2k, I really don't want to turn this into a long rant, but if you know even a single person who is working 4k, I would be very suprised. If fact, i'd be [a bit] suprised if you knew someone who even was working with 4k images from a D-SLR, since there are maybe 8 D-SLRs that support this resolution... and D-SLRs are meant to approximate more than double the resolution of 35mm motion picture film.

The fact of the matter is that 4k is an exorbitantly expensive workflow to support; and packing that type of resolution into a 35mm chip degrades the type of performance you can see in other areas. We considered 4k, but 2k is the current standard for the industry, and that's why we chose 2k-- it ended up being the "sweet spot" with regard to the total performance of our chip. I'm not saying 4k isn't great, or that the industry won't eventually shift there, but that isn't the current standard, and going 4k would have required us to make sacrifices in other areas.

*also, sorry for lagged responses.. as you can imagine, quite busy nowadays, but I'll continue to do my best to check this thread every week or so. if you need to reach me more quickly, e-mail is the best way*
 
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