Take a look here.

1. Download Simple Video Out from Apple (free).
2. In your DSR-11 menu, change the DV in TC setting to External
3. Change the TC setting in your project according to your requirements. (Say your programme is to start at 10:00:00:00 and you want 2 minutes of black, bars and info in front of it, right click on the sequence in the browser, chose Settings… click on the Timeline options tab, where you set the Starting Timecode to 09:58:00:00. Move the beginning of your film to 10:00:00:00 and fill the gap with bars, info, countdown and whatever you want to.)
4. Export your sequence as a QT file.
5. Open the newly created QT file from Simple Video Out.
6. Push record on your DSR-11.
7. Push play in Simple Video Out.
8. Make sure the DSR displays the TC, so you can check that everything is fine.

Enjoy!(Workflow derived from a tip by Shane Ross)

1. The sensor is Super35mm size.
2. The camera body is bigger than it looked like on the photographs. Definitely more than a PD170.
3. Camera is natively progressive. Interlacing can be achieved in post.
4. The digital shutter is programmable. Range up to 360 degrees.
5. ISO rating is between 320 and 500.
6. Camera takes standard V-mount batteries. 90-120 minutes operating time per battery (Red Brick).
7. PL mount, takes any professional lens with a PL mount. Red also makes their own lenses, very aggressively priced. When using S16 lenses, you are limited to 2k resolution.
8. The camera takes 52 seconds to boot. I would imagine this to come down on future firmware upgrades.
9. Camera design is modular. Not only externally, but also within. Which means that when Red comes up with a better sensor, you don’t have to buy a new camera, you just swap out the chip.
10. Join the queue. If you order a camera today, you will get it in about 9 month’s time.
11. Not all feature are yet activated. No sound yet. Wait for a future firmware update. Will have 4 channels.
12. 100 fps @ 2k resolution. Mouth-watering!
13. 2gb per 1 minute of 4k resolution. Which is only 10 times that of DV. Again: impressive.
14. Soon you can edit (in 1k resolution) your 4k material on FCP. In reality this means you can edit straight from the Red media on your laptop.
15. The ProRes codec is so good, no reason ever to use 8- or 10-bit uncompressed.
16. Upcoming feature: Histogram in the viewfinder. This will be great for location shooting.
17. Shooting with the Red camera is closer to shooting film than to shooting HD/video. You don’t expose for a pretty picture, but to get as much detail out of the picture as possible - to keep the option open in post production. This is comparable to shooting in RAW mode on a digital SLR camera.
18. Camera has also a “False Colo(u)r mode�, which shows you clipping that would occur at the current T-stop setting.
19. The software to transfer the video data to your editing system is - at this point - Intel Mac only. But soon they will have a more elegant version out, which will run both on Mac and PC.
20. Scratch, a high-end programme for Color Correction is directly supporting RedCode Raw. Color Grading in real time, with 1k or 2k preview.
21. The Mill (Oscar winning post production company) compared side-by-side 35mm and Red 4K, and were blown away.
22. Red is a disruptive technology. Many people do not want this camera to work.
23. Red reminds one of the early Apple. People working there seem to actually have fun creating something new.
24. At least 5 major feature films are currently shooting with Red cameras.
25. The Red camera in hand-held mode weighs about 18 pounds (9 kilos).
26. The EVF is not yet ready.
27. The Red Camera is a passion product.
28. Why is the camera so cheap? They aim for quality and volume.

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I wish there was a QT version somewhere - it is just not the same reading about it, or seeing/hearing it. Especially when it comes to Apple presentations.

I’m a film editor who’s had the privilege to work on $100 movies to $100 million movies.

Story is king. If your story is working, and crafted well, and paced properly, you can get away with almost whatever you want. For instance, when I cut scenes, I cut for performance… I don’t toss out takes because the glass of water was full in take one but empty in another. 9 times out of ten, even the seasoned filmmakers I’m working with never see the continuity errors because the performances are working.

Occasionally I work with first time directors, helping them with their first short. I see two main mistakes. First, they think that if someone knows how to operate [an editing station], that they are an editor. This is simply not true. I know how to use a chisel, but there is no way [...] I could sculpt the David. Editing is the same: knowing what buttons to push is the least important part of editing. Knowing how to tell a story well is everything. In fact, I know one Oscar winning editor who spent many years never touching the equipment at all. She chose the cut points, and had her assistants do the physical cutting.

The second main mistake amateur filmmakers make, IMO, is that they are not vicious enough when cutting their material. Every single frame of film you project should be conveying new information to the audience. If it’s not, get it out.

The same applies to the craft of cinematography. On discussion boards around film-making I often read questions from wanting-to-be directors on what camera they should buy, which lens they should use. Ocasionally I take the time to point out that if they want to become directors, they should not concern themselves about equipment. They should spend all the time they can on the story, developing the characters, working with the actors to achieve his/her creative vision.

Rather than buying a semi-professional camera, I advise to hire in a professional DP. S/he will not only bring superior equipment, but - most importantly - experience to the shoot. Take a good story and a knowlegdable DP, and you will have something in the cutting room to work with. Your chances of getting your film into a festival and ultimately to actually sell it, have tremendously increased.

Or you can spend all your money on a second-rate camera (never, ever believe the hype that the new HDV camera for $10.000 is as good as a $100.000 camera. But that is another blog…), and end up having to both direct and shoot on your first film. Not a good idea. Leave the technical worries to someone you can trust, and concentrate on your job: story telling.

Movie tip: Living in Oblivion by Tom DiCillo.