ENG does not belonge here

[Bruno Solaja]

RED 1 Was not the tool for this job... Cinema grade camera
EPIC is a way off... Cinema grade camera
SCARLET ( EPIC s ) ... Cinema grade camera

RED stated that they are a cinema grade company...

So, what do you think ?

[Bruno Solaja]

Remember this ?


"Proxy Module... – 04-10-2010, 11:53 AM

RED is increasing the workflow flexibility on Epic and Scarlet with Proxy Modules… the first of which is an H.264 Module.
This module encodes a 1080P stream (high quality scale from full frame) and records to Compact Flash in a rear module. The module also offers secure password protected streaming over dedicated WiFi and ethernet to iPhones, iPads, laptops as well as broadcast to the internet.

This will be beneficial for on set viewing, instant dailies, offline editing, easy file transfer to remote locations, dailies review and collaboration services with such companies as Pix, or live broadcasting for realtime media distribution.

The modules will also support full metadata and XML for editorial.

Availability will be September 2010 and the price will be $2500.

Jim"

[David Battistella]

Yes.

It's true.

News organizations did not flock toward buying RED cameras. I've always seen it as a replacement for 35mm film never for Electronic News Gathering.

I'm happy about that. Plenty of cheap video cameras are made for news gathering including the iPhone 4.

David

[PatrickW]

In terms of video work, its not great for news. But if your a photojournalist, it is amazing.

A camera is a tool. DSCM is a very versatile tool, but its not a do everything tool.

[David Mullen ASC]

Steve Gibby has eloquently expressed the place of Red cameras in the ENG/EFP market, and there is a place for such a camera, and even more so with the DSCM concept. Sure, I don't see the nightly news shooting on a 4K RAW camera, but other than that, there is a WIDE variety of projects that fall under the ENG/EFP and documentary label that can use a higher-quality image and 35mm optics and don't need to turnaround an HD image immediately for delivery, nor stream live HD for hours straight. A "Planet Earth" type series is an obvious example. And many ENG/EFP projects have a mix of material in them, from talking heads to landscape shots or beautiful product shots.

[Johnny Friday]

I think for the most part you are correct. HOWEVER, in some and a variety of situations....it can and i do use it as ENG style camera for doc work and when shot well results are extraordinary. Additionally.....to add to your point...it is not a run and gun camera as i've found since 2007.....under a variety of situations. WOULD LOVE to have seen Scarlet fill that gap with small sensor and push auto focus one touch....but keep manual most of time....small sensor; fixed lens....YEP, not for cinema, but GREAT for nature/doc work where all or most work is sent out 1080p and where RAW just plain RULES.

[KETCH ROSSi]

Problem is that you guys are seen the ENG/EFP as news cameras type only, were in truth it represent such a much wider range of users projects, and I have seen the R1 and now the Epic M,
and I'm more then sure will see plenty of Scarlet cameras too... ;)

The DSMC represent a much better camera system then the ones so far used, less cumbersome, more options, moire configurable to meet the user needs, and so on,
more importantly they can become smaller and lighter when needed!!

[Rob Gardner]

Well, Gibby not withstanding, what is happening is the non-fiction film and television world is on a budget slide downhill, which means more and more demand for one-man crews and fast delivery and smaller and smaller per-hour budgets. Production value is less and less important. Red is really about production values and image quality, meaning higher end work—specials and personal projects where time can be taken and a reasonable crew can be budgeted.

The truth is that you are not seeing a lot of high production values on cable television reality shows or documentaries.

Carefully set up, I think the Epic could be a pretty good personal camera for run and gun, but not ideal. And with these budgets there is a point of diminishing returns using a camera like this under these conditions.

[Stuart English]

Steve Gibby has eloquently expressed the place of Red cameras in the ENG/EFP market, and there is a place for such a camera, and even more so with the DSCM concept. Sure, I don't see the nightly news shooting on a 4K RAW camera, but other than that, there is a WIDE variety of projects that fall under the ENG/EFP and documentary label that can use a higher-quality image and 35mm optics and don't need to turnaround an HD image immediately for delivery, nor stream live HD for hours straight. A "Planet Earth" type series is an obvious example. And many ENG/EFP projects have a mix of material in them, from talking heads to landscape shots or beautiful product shots.

Agreed. I'd just suggest we delete "ENG - Electronic News Gathering" and constrain our discussions to "EFP - Electronic Field Production"; we are NOT an MPEG-2 LONG GOP / DV compression based news camera and we never will be. However all of the applications David lists here and Gibby has pointed out previously are perfectly valid use cases for either camera.

[David Battistella]

Stuart.

This is why I suggested ENG and excluded EFP. There's lots of EFP applications for red cameras.

But news gathering is in iPhone land now.

David