EPIC or RED ONE

[David Dennis]

The market for RED ONEs for sale seems to be pretty thin and I think they are pretty expensive compared to the projected cost of EPIC-S. I'm seeing about $25k for a used RED ONE kit (with needed accessories including a basic lens), and my impression is that EPIC-S should come close to the same price. Once EPIC-S becomes readily available, the market for RED ONEs should decline rapidly.

The main advantage of getting a RED ONE is that you can have it now, while you will have to wait quite a while for EPIC-S. I also suspect that EPIC-S may become quite different from its advertised spec, or even collapse back into being the same as EPIC-X. If you have current moneymaking projects it may be best to get a RED ONE now. If you can wait I think you would prefer getting an EPIC-S/X. EPIC-S/X should definitely have much higher resale and rental value in the future.

Hope that helps.

D

 

[RivaiC]

Anything you shoot on the Red should go through someone who knows the post process, otherwise what's the point in shooting RAW? So in that case it doesn't matter because your final output should be with RedGamma2 or RegLogFilm. Without doing that you're not getting the full capability of the Red cameras and the RAW format. That's why Red created RedCine-X and RedCine-X Pro.

Mike...every place is different. But this is not correct at all....lots of people still dont know RAW and R3D even they have redcine-x and how to handle it correctly....you will be surprised

 

[Mike Halper]

Then why are they shooting Red and RAW? The people shooting it may not know the proper post process, but the people they're handing the footage off to for editing and other post work do (or should) know the proper post process for Red, RAW, and R3D. If not, then they're aren't take advantage of one the biggest reasons to shoot with Red cameras.

 

[RivaiC]

Then why are they shooting Red and RAW? The people shooting it may not know the proper post process, but the people they're handing the footage off to for editing and other post work do (or should) know the proper post process for Red, RAW, and R3D. If not, then they're aren't take advantage of one the biggest reasons to shoot with Red cameras.

Indeed...thats what exactly happen. I cant answer to those question why are they shooting on RAW. Imagine they try to load R3D build 30 into old Davinci 2K which only support old color science build 21...and they have no idea why the color turned yellowish and drop to 2K res.

Crazy stuff but not everybody know R3D

Rivai