The Reel Show presents Arri D-21 on the Butcher's Shop

[Chuck Z]

http://www.reel-show.tv/index.html?...aign=Project review of Arri D21 in Reel World

(Just click register later)

If you watch this clip, it makes me wonder why some people haven't given the RED One a test spin. How is it that the RED One seems to get ignored when considering digital format acquisition cameras?

 

[J. Bernard Vallon]

I think, given all the momentum of the Red, its fair to say that guys like Dalsa and Arri D21 have been far more "ignored" then Red has.

 

[Andrew Walker]

I don't think the Red camera is ignored. Just that there is still a lot of misinformation floating around even now about the camera. Unless you are a Red camera user you really don't know. So all these people on sets that I've been on that have never worked with the Red ask me all these questions that they have because of something they heard from someone else that hasn't even worked with the camera. Basically you have to set the record straight with everyone that has never worked with the camera. Plus I think it has something to do with the price of the Red vs. the D-21 or the F-23. Some people have it in their head that the camera has to cost a truck load of money to make great images, which just isn't true as Red has proved.

 

[M Most]

Some people have it in their head that the camera has to cost a truck load of money to make great images, which just isn't true as Red has proved.

That's easy to say, but in general, it's just not true.

In my observation, the primary reason for the more prevalent use of Genesis, D21, F23, and F35 on high end production - particularly for television - is the ease of post production given the established and very efficient post infrastructure in Los Angeles. File transcoding is not something that people generally want to do, but it is what Red generally requires. The prevailing feeling is that when material comes directly from production already in 1920x1080 HD video form, post production is simpler and smoother. The Panavision and Sony cameras also seem to be a bit faster than the Red, an advantage when you're used to the lighting levels needed for 500 ASA film stocks (this is not true of the Arri D21). There is also support for the camera department from established, trusted vendors, not an insignificant factor when you're shooting a television series. Those are the real reasons for choosing a camera system, not the supposed psychological factors that you're citing.

 

[Casey Green]

...File transcoding is not something that people generally want to do, but it is what Red generally requires. The prevailing feeling is that when material comes directly from production already in 1920x1080 HD video form, post production is simpler and smoother.

While this may be somewhat true, it should be interesting to see what happens once the FF1080p modes
become available on Scarlet, EPIC, and possibly RED ONE (especially for the TV market).

http://www.red.com/epic_scarlet/

 

[Hans von Sonntag]

While this may or may not be true, it should be interesting to see what happens once the FF1080p modes
become available on Scarlet, EPIC, and possibly RED ONE (especially for the TV market).

http://www.red.com/epic_scarlet/

t

Still not tape.

It's going to take another decade to switch from tape to filebased workflows. Generally the Red made a lot of people curious, some understood the metadata thing, the complicated processing with variable settings, etc.. but many got burned for many reasons and went back to S16, 35mm or HDCAM.

Red is the spearhead of a new technology that obviously has a great future, nonetheless WYSIWYG tapeless workflows such as P2 or XDCAM will have their place not only in the mid to low-end. Seen from this perspective you're righ. Red's 1080p RGB mode will open some new doors.

Hans