The HPX 300 arrived yesterday and we put it through a few basic tests today in our studio.   This is a new HD camera from Panasonic with full raster 1920×1080 when shooting in AVC-Intra.  The camera still shoots in all the other flavors of DVCPro HD and DVCPro (even SD). Unfortunately, due to the nasty weather we couldn’t get it outside.  We will put together a formal review soon.

Lyon Films Studio - Ryan Walters & Jerry Turner

Ryan Walters on the HPX 300 at Lyon Films

We have had the opportunity to use the RED ONE 4K digital cinema camera on five jobs.  The jobs have varied from a :30 second TV spot, to a safety video, to a corporate industrial video, just to name a few.  This blog entry will provide some insight into using the camera, especially for producers who have not yet used it or are considering renting or purchasing one in the near future.

First, what is the RED?  The RED is a cinema camera.  Although it can be kitted out to work more like an ENG style camera, it is really, at its heart, a cinema camera.  The RED is an ultra high definition 4K camera.  For normal non-video geeks, that is 4096 x 2304 (in the 16:9 setting) - so signficantly more resolution than “standard” HD at 1920 x 1080.  In fact, 4K is considered on-par resolution wise with 35mm film (latitude and exposure are an entirely different argument not to be addressed here).  The single CMOS sensor is the size (roughly) of a 35mm frame of film.

Why use a RED?  35mm Depth of Field is the primary reason we’ve chosen to use the RED.  The ability to selectively control an audiences point of interest without (a) the hassel and expense and extra time of shooting on 35mm film (think: telecine); and (b) using a 35mm adaptor.  It was great on set to treat the RED like a film camera with no extra fiddling around ala 35mm adaptors (but we love those in certain situations).  Also, there are times when having 4K raw files provides a lot of wiggle room for re-framing in post (depending on how you framed in the field).

Why not use a RED? It is a cinema camera.  Some jobs simply don’t call for all that muscle not to mention the fact it just takes a little longer to use.  Firing up a Panasonic HPX500, for example, is perfect for most industrial jobs, talking head shoots, regional TV spots, etc.  Also, a traditional ENG style camera is easy to pop on your shoulder and you’re off and running.  Now, RED owners will of course poo-poo this point a bit, as mentioned above the camera can be kitted out to act more like an ENG camera.  My experience is limited to a setup that is more cinema built - so take that into consideration.

Working with 4K in post was, until recently, a bit of a pain in the butt.  In fact, our first job on the RED was MUCH harder than our most recent job because of the advances in post work flow over the past 14 months.  The first job required lots of intermediate steps for handling the footage and the audio.  Recently Premier Pro CS4 in conjunction with RED, released a update that allows CS4 to handle the RED RAW files.  The sound of cheering could be heard for miles!  Now we can edit in RAW 4K (although viewing a down-rezzed file), dynamically link over to After Effects for compositing, etc., and render out any number of Masters without transcoding.  Very, very nice.  That being said, it is still more cumbersome than working with ProRES (HQ) or DVCPRO HD for that matter.  Now we wait to see what Apple and Final Cut will anounce at NAB…

So, the point of this entry is just to give my readers a bit of insight into working with the RED.  And, of course, to pitch ourselves as a shop that is RED-experienced and ready for hire

Cheers.  Devon Lyon

The picture below is of Lyon Films producer, Kevin Curry, being interviewed by KATU the local ABC affiliate on Film Industry Day at the Oregon Capitol.  The point of this post is that earned media is a great way to get your message out.  Local reporters are looking for meaningful content.  They are under a lot of pressure to create news packages in very short periods of time.  They work incredibly hard and take their jobs very seriously.  If you can approach a reporter with a cogent, defined story that has broad enough appeal you may find that they take interest.  Even better if you can provide additional facts, talking points and other industry contacts to help them flesh out their stories.  Be an honest, open resource and they may come back to you again in the future when they need an expert in your field.

UPDATE: KATU Ran the story click HERE.

Kevin is interviewed by KATU reporter, Melica Johnson

For Immediate Release
March 10, 2009

Oregon-based Lyon Films has been recognized by the Aurora Awards for two recent projects. The Aurora Awards’ top prize, “Platinum Best of Show”, was awarded for a project for PDM International received in the Religious Issues/Report/Documentary category. Further, a project for the Agri-Business Council of Oregon and OR-OSHA was awarded a “Gold Award” in the Issue Awareness category.

“We’re honored to be recognized by the Aurora Awards for our work,” said Devon Lyon, owner of Lyon Films. “These projects represent two different approaches to delivering a message and telling a story, and both illustrate the excellence we pursue with every project.”

The project for PDM International was a hard-hitting look at the problem of sexual addiction in the Christian church. The Agri-Business Council/OR-OSHA project was a bi-lingual agriculture safety video that utilized storytelling techniques to educate viewers.

Marc Gale, President of PDMI said, “The team at Lyon Films was amazing to work with. Their professionalism and artistry sets the bar very high. We thought our final product was great, but what really counts is our target audience. It has truly put Pure Desire Ministries International on the map.”

Geoff Horning, Executive Director, Agri-Business Council of Oregon said, “We came to them with little more than a concept, and through their creativity a top-notch bilingual DVD has been developed that is being embraced by the agricultural community.”

The Aurora Awards is an international competition designed to recognize excellence in the film and video industries. Entries have come from across the US, and abroad, such as Russia, Denmark, Hong Kong, Germany, Australia, Mexico, etc. The “Platinum Best of Show” is the highest honor given. Only about one in ten receive this honor, while about two out of ten receive the Gold Award. The Aurora Awards have been awarded for 12 years.

These awards follow on the heels of Lyon Films recently being selected as a finalist for the national Reed Award. Lyon Films is a premier Pacific Northwest full service production company based in Portland, Oregon with an established reputation for creative, narrative, commercial and industrial production - on time and on budget. For more information on Lyon Films, visit www.LyonFilms.com.

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In January a Lyon Films television commercial, “Creepy Cauldron of Lies” made it to the final three in the national Reed Awards.  Unfortunately, we didn’t win, but merely making it to the final three, up against large national firms, made us proud.

On Friday the Lyon Films team found out that we won two national Aurora Awards. We won “Platinum Best of Show” for PDM International “Pure Desire: Sexual Addiction” and a “Gold Award” for Oregon Agri Business Council OR-OSHA bilingual Ag Safety Video.

Now waiting on the Telly Awards…