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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

I heard something from an acquaintance today about a "Canon RED-Killer". . .

Stephen Pruitt

Stephen Pruitt

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I heard something from an acquaintance today about a "Canon RED-Killer". . .

. . . it will supposedly sell for about $8000. Does anyone know anything about this "marvelous" new machine? I did a quick search but all I could find is a 5DMkII, which, although a marvel, is hardly a RED killer.

Any thoughts?

Stephen
 
Word on the street is it'll be priced at $7k and nothing more than rumors about the features & quality. There was a discussion about it over at dvxuser, I'll see if I can find a link for you. Hang on.
 
FYI there is a site called canonrumors.com they might have some info about it.
 
Stephen Pruitt said:
. . . it will supposedly sell for about $8000. Does anyone know anything about this "marvelous" new machine? I did a quick search but all I could find is a 5DMkII, which, although a marvel, is hardly a RED killer.

Any thoughts?

Stephen
Click to expand...
As long as they keep recording in H264, it's a non starter...
 
Like I said, I don't know anything about it. But I sure love our two REDs.

Stephen
 
Seriously doubt it will be a Red killer, far from it however it could be a really good small cam for run n' gun type stuff due to the small size stealth factor.
 
Jim already acknolwedged this last month... when he said competitors have changed things again...

Besides, If they are calling it a RED KILLER.. how flattering is that to the "scam" company?

That not only legitimizes RED, but acknowledges RED's current superiority. Cool!

Competition is always a good thing as it drives innovation and lowers prices.
 
I think the whole terminology of -killer should be retired. I've read about hundreds of iPod-Killers and iPhone-Killers and as far as I can tell there hasn't been a single success along those lines. And the last company I expect to see a RED-killer come out of would be Canon...

Noah
 
REDCODE vs. H.264

REDCODE vs. H.264

jake4n said:
As long as they keep recording in H264, it's a non starter...
Click to expand...

We have been doing some filmout tests from film scans, frames from REDCODE R3D files, and some H.264 from a Canon camera.

The best looking footage is the REDCODE except for some vertical lines that seem to be fixed pattern noise in the sensor.

H.264 have very limited grading range and you soon get histogram gaps, REDCODE is much better than H.264 for a camera recording format, with regard to blocking artifacts and grading range.

Also what is the deal with restrictions on the use of video shot with H.264?
 
No matter what it is, we should all pick the tools that work for us regardless of resolution. I'm dead set on a Scarlet for my next camera because that's the most I can afford and it offers more of the features I want at its price point. I don't necessarily need a hulking Epic setup, even though I'd like one, but so far I don't need much more than what a combined S35/FF35 Scarlet and a 2/3" Scarlet (for high speed) can give. If Canon makes a great 1080P cinema camera then good for them. However, I don't think they've set themselves up very well over the years as a video company, let alone as a digital cinema company, with their constant throwback attitude that has cost them much over the years as far as ingenuity and progressive thinking goes. Imagine if they had made that 3D lens or if they had released the XL2 in time to cut off the DVX100's popularity boom. It just seems like they've sat by the sidelines and waited too long time and time again and now, if they do make this thing, the one thing that is guaranteed is that they will be seen as trying to copy RED's market approach, much like when they released the XL2 and it was only seen as a "Me too!" camera compared with the DVX100 and that, I think, is what hurt its sales more than anything.
 
S35 Scarlet, a filmmaker's tool

S35 Scarlet, a filmmaker's tool

Zack Birlew said:
I'm dead set on a Scarlet for my next camera ... I don't need much more than what a combined S35/FF35 Scarlet and a 2/3" Scarlet (for high speed) can give.
Click to expand...

The S35 Scarlet should be a good filmmaker's tool, more so than anything Canon seems to be working on so far.

Take a look at CHE and Knowing, I think you will say that although you can see that they are not shot on Vision 3, the RED cameras are good enough that it does not matter, and probably makes no difference in the ticket sales for those films..?

For a low buget filmmaker, being able to shoot at a higher ratio can be a make or break for working with inexperienced actors on a budget.

If I had the choice of shooting on a 3:1 ratio in Vision 3 or a 30:1 ratio on S35 Scarlet, I think the Scarlet would come out better as far as the result...
 
Non-PL mount & H.264 it´s not my market
 
Canon Glass

Canon Glass

Canon historically has produced products that use their lenses. I don't see this changing anytime soon. A camera without cine lenses is a non-game changer.
 
Canon needs to abandon the XL-mount. There are too many other manufacturers getting in on the interchangeable lens mount front and they have many more options for lenses from 1/3" to 2/3". The best thing would be if they could find a way to adapt XL-mount lenses to work for these other 1/3" mount cameras and then change their mount to 1/3" or whatever size mount they end up going with. The XL-mount, again, has only caused Canon problems because they're not cranking out XL lens after XL lens to support their own lens format. It's like the only new XL lens comes when they release a new XL camera and that, in a way, is pretty crooked as far as someone invested in an XL camera goes. The excuse I've always heard from the XL crowd is that "Nobody ever changes from the stock lens, so that's why Canon isn't making more XL lenses", well, they don't ever change because there isn't anything else to change to! The problem has always been on Canon's end and the consumer is the one that suffers for it every single time. If I were in charge of the Canon video division, I would have had a whole line of XL lenses by now ranging from extreme wide angle to massive telephoto lenses. The EF adapter is not an excuse! By now I would have also made sure that the old line was updated to HD standards as well and certainly I would have, by the time the XLH1 came out, tried my best to get a standard 1/3" mount at the least onto the camera and abandon the XL lenses completely, heck maybe I would have tried for a 2/3" mount and really turn on the fires under Panasonic, JVC, and Sony. But the reality of the situation is that the XL line is still a mess, granted the XLH1s is a pretty solid camera, not the most flexible or ideal for filmmaking these days, but still solid nonetheless. Now, the video DSLR business, that's another story and whoever is handling that needs to lose both pinkys, especially for the 20p 1080p debacle.
 
Always used to strike me as funny too, that. I remember when the XL-1 came out lots of people telling me how great it was that it had interchangeable lenses. Great, said I - how many lenses have you got? Uh... 1, always came the reply!

I agree, Canon need to move on. I've never really understood why Canon haven't pushed the envelope more with their video line-up, especially being the one mainstream producer of small format camcorders that don't have a "pro" line-up to protect...

Can't say their latest offering changes my opinion much, but there you go.

Cheers,
Dom.
 
Zack Birlew said:
Now, the video DSLR business, that's another story and whoever is handling that needs to lose both pinkys, especially for the 20p 1080p debacle.
Click to expand...

Canon needs a few things to really get in the game properly. 24p, a codec and follow focus control of their lenses are the big ones. The whole pl mount thing is another market altogether and I don't think it's where the really big money is.

The big money is in selling a million units. That's a $3000 camera. Most pl lenses are more money than that alone. Canon and Nikon have millions of units out there. They have a fully established retail chain. They are as dangerous as they choose to be. Or they'll wake up in a year and RED will have sold a few hundred thousand units and be entrenched in the game as a serious competitor.
 
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