I think I get The Goal of Red

dillont

dillont

Well-known member
Mr. Jannard wants to create a camera that every and all videomaker and film maker can use. The same camera can be used to shoot a "low quality" SD production, as well as a high end feature film production, and anything in between.

And because of its modularity, the camera can be outfitted in many different ways with different methods for recording to disk/tape dependent on resolution needed. Modularity in the camera makes it a wise investment for any serious video or film professional - and thus - the camera is going to be marketed as ***the most versatile camera on the planet***.

Just a hunch.

Can't wait to see it. I'm considering my first trip to NAB just so I can meet this Mr. Jannard and see what makes this gentleman tick.

Dillon
 
Hell, I'd be happy with a $3000 camera that shoots 24p and has a 35mm lens adapter built onto it.........
 
Jannard said:
Right on... please call me Jim. See you at NAB.
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Jim, I know this is looking into the future a bit, but do you plan to let out upgraded models as you see with film cameras? For example the Arri SR, SRII, SRIII. The camera is still recogniseable but just improved rather than a completely new camera.

With a film camera you can easily intercut pretty much any camera using the same filmstock. Do you have plans to keep the secret sensor as the heart of the camera? Not sure if I am making sense.
 
We plan on making upgrades to the original camera if possible. Even if we introduce a new body.

Jim
 
I talked with some guy from Fox and some guys from Pixel Corps at MacWorld (who were demoing a 4:4:4 10 bit F950 Cinealta through FCP). Anyhow, it's pretty clear that people are talking and that there's a huge demand for this product at the ultra-high end. People calling $25,000 way too expensive are crazy and totally ignoring a huge and lucrative market.

I have to be honest, though. If this camera is designed for shooting Hollywood films as well as wedding videos, there will be sacrifices made along the way. Compare an Arri 35mm camera or a Genesis or Viper with an XL1, PD170, or even a DVX100. There are next to no features in common between a "prosumer" video camera and a 35mm film or 4k video camera. Trying to bridge the gap between the two would only water down and convolute the purpose of each. More often than not I've found that these "one-size-fits-all" products fit no one. Then again, the idea of a DP blowing a shot because the "auto white balance" was on strikes me as hilarious. Flexibility is a good thing, but convoluted products that don't know their place in the market aren't. Let's see this thing targeted toward narrative film makers (as well as documentarians) and if a version is made for event videography, it should be a distinct model with a different feature set and method of operation.

I'm not saying you should intentionally ignore a market where there's money to be made, but I think that by trying to appease too many markets, you'll ultimately make a product which is inappropriate for all of them.

I'm not trying to be a snob here and I'm sorry if I'm coming off as one. I'm looking out for the event videographer, too. Do you really want to rack focus as you pan through the audience? Do you want to bring a light meter and measure the key to fill ratio on the groom's face? No. There are multiple markets; if you want to sell to all of them, you'll have to sell multiple cameras. (That said, I love the multi-format 720p/1080p/4k idea. Brilliant.)
 
Policar said:
If this camera is designed for shooting Hollywood films as well as wedding videos, there will be sacrifices made along the way. Compare an Arri 35mm camera or a Genesis or Viper with an XL1, PD170, or even a DVX100. There are next to no features in common between a "prosumer" video camera and a 35mm film or 4k video camera. Trying to bridge the gap between the two would only water down and convolute the purpose of each.
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Trying to bridge the gap between the consumer and the high-end professional market is a no-win situation. It's just as hard teaching a PD170 user how to use a DVX100 as it is to show them how to use a Digibeta.

If you build it, they will learn.
 
Forget the Hollyowood Professionals

I just want a camera geared towards the true indiependent filmmaker.

Period.
 
The idea of having one camera for all applications might not seem to be realistic, however if you could choose the features you wanted in your base model based on your individual needs (hint hint, i.e. lens options...) then the idea seems realistic. But lets just come out and say it, the lower res options on the camera arnt the selling point........... 4k is. I don't know of a single kid who is going to be able to afford a 25k camera over a 3k if he's not in the industry.
 
I agree with you 100% and didn't mean to imply otherwise. But seeing a brief demo of the F950 made me realize that what's right for the "Hollywood professional" is pretty much everything I want, too--only I want it cheaper. If this camera can offer "Hollywood functionality" at a independent price, it will have universal appeal. But if it's bogged down with useless features (what's up with the sensor crop mode?), it's going to appeal to no one. Flexibility's a good thing, but not at the cost of functionality and price.
 
I am definitely with John on this one. Someone please build THE perfect camera for independent film makers! It seems like everything has "Almost" every feature we need. Why doesn't a camera put them all into it. So what if it is a 1000 dollars more. man I wish there was that holy grail camera!
 
msconce said:
I am definitely with John on this one. Someone please build THE perfect camera for independent film makers! It seems like everything has "Almost" every feature we need. Why doesn't a camera put them all into it. So what if it is a 1000 dollars more. man I wish there was that holy grail camera!
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If the HVX200 isnt the closest thing to a grail camera I don't know what is, thank you Jan!
 
It´s just we are never satisfied. A few years ago something like the HVX would have been SiFi. Within a few years it will be waste and so on. One of the reasons why People make movies is because they are never satisfied - so let´s make them with what we have. We won´t get no satisfaction anyway :evil:
 
hvx200, 1/3" chip and expensive, proprietary hardware, non-interchangeable lens, holy grail? not by a long shot (IMHO the HD-100 is far closer to what i want, as an indie).

Jim, build me a Aaton Xtr prod, with a 4k output from a s35mm chip and i will buy it! the fact that it is PL mount is delicious butter. I already have my eye on a kinor oct-19(easy conversion to PL) mount 25-250 zoom, and a set of anamorphic (2:1) primes. ahh high rez cinemascope for indie's like me. now that is a holy grail.
 
Policar said:
what's up with the sensor crop mode, it's going to appeal to no one.
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except people who have invested lots of money into c-mount or b4 mount (ENG and 16mm) lenses that are very good quality but don't throw an image circle big enough to cover s35. they will love this feature.
 
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