Steve Gibby
Red Savant
I find some of the comments and reactions on this thread to be childish, others to be elitist, others to be showboating for their peers, others to be seeking to be appear as heroes to the “Center of the Production Universe” (L.A.), others seeking to build their business by strutting their unique and unusual knowledge, others to be egotistical in that they actually think they have a corner on the knowledge field production ergonomics, others simply protecting their turf - and a few actually doing what RED User is designed to be for – the collective input and constructive sharing of ideas, concepts, experience, and knowledge.
Let me be blunt: Epic and RED One are not just Los Angeles cameras. True there is a lot of production in and around the Los Angeles area, and true the productions there get a lot of press and are often high profile, but there is a vast universe of professional production going on all around the world – and RED One (and Epic) are world cameras. There are tens of thousands of motion media professionals scattered around the world who are experts on camera usage and ergonomics, work on top-level features and television, and could basically care less what happens where the rubber supposedly hits the road (L.A.). They’re not second-class citizens who need to be talked down to with a “Let them eat cake” Bourgeoisie to Proletariat attitude. They also collectively buy exponentially more total RED products than the L.A. area production establishment. The rest of the production world deserves a lot more respect than I see exhibited on this thread.
This is no place for genre bias, elitism, disrespect, and infighting. A little knowledge is dangerous. More experience and knowledge usually engenders respect for others, and an open mind. If knowledge is taken correctly, the more someone learns the more they should realize they don’t know. There are people here who get real brave behind a keyboard showboating for their peers – and say blunt and uncalled for things that they would never say to others to their face.
Now back to Epic:
RED One, and Epic, and Scarlet are closest in technology to a DSLR, moderately close to a video camera, and only faintly close to a traditional film camera. Technology driven media convergence has drawn professionals to RED camera systems from four industries: film, television, video, and still photography. As such, those professionals, and the inherent utility and flexibility of RED cameras, determines that the needs of various professionals who are buying RED cameras are diverse – thus in wisdom, RED has (and is) designing their camera systems to be scalable, flexibly, and adaptable. The concept is simple: start with a central heart (chip, sensor, buses, mount, etc.) and through a wide variety of accessories anyone in any genre of industry can build the camera outward for each successive project. If that scenario doesn’t exactly fit the union dominated, crusty, elitist few who ironically buy the least camera equipment but squawk the loudest to demonstrate for everyone that they supposedly on top of the pecking order, well IMO that’s just tough. If I owned RED I’d be designing my products to sell to the highest common denominator who buys the most equipment – the vast pool of non-narrative, non-L.A. imaging professionals who are the huge silent majority - on this board at least.
Narrative cinema is but one division of digital cinema, which is in turn a small percentage of the overall motion media business. The production world doesn’t revolve around narrative cinema and it also doesn’t revolve around L.A. I think its time for any here with an L.A. elitist attitude to resolve to check your egos at the door of RED user and acknowledge that there are tens of thousands of pro workers in this industry who can help you to expand your minds, skill sets, and businesses.
Epic is a work in progress. This render isn’t “the perfect camera”, but then again it has a lot of well thought out concepts. It’s getting there. RED is in the business of selling camera equipment. Flexible equipment with a high utilitarian can simply be used in more production scenarios and genres – thus enabling more sales of equipment. The broader the utility, the higher the potential sales quotient. If you in-build the utility and ergonomics of a digital cinema camera system around the needs and wish list of one small portion of the motion media industry, guess what, you’ve just diminished your sales potential to the rest of the industry. But if you design a system with a central heart that is buildable outward with accessories to whatever you need to shoot, then you’ve not only kept a bigger percentage of the industry happy – but you’ve also increased your sales potential.
I think its time for some here to back away from the crack pipe for a reality check. There is a diverse array of professionals buying and using RED cameras, they all deserve respect, and RED needs to operate as a smart business.
I’ve put my money where my mouth is by buying multiple RED One cameras and a slew of accessories and lenses. I’ll also be buying multiple Epic and Scarlet cameras. I’m getting real tired of others who are presumptuous enough to think they are speaking for all of us when they yipe, bitch, and complain about features of the cameras for their own little niche or geographical location of this industry. They don’t speak for all of us…we can speak for ourselves thank you.
I’ve been blunt, but let me say that I do respect everyone who works in the overall motion media industry. Respect is a 2-way street…and I think its time for some members here to exhibit a little respect for others in this industry.
Let me be blunt: Epic and RED One are not just Los Angeles cameras. True there is a lot of production in and around the Los Angeles area, and true the productions there get a lot of press and are often high profile, but there is a vast universe of professional production going on all around the world – and RED One (and Epic) are world cameras. There are tens of thousands of motion media professionals scattered around the world who are experts on camera usage and ergonomics, work on top-level features and television, and could basically care less what happens where the rubber supposedly hits the road (L.A.). They’re not second-class citizens who need to be talked down to with a “Let them eat cake” Bourgeoisie to Proletariat attitude. They also collectively buy exponentially more total RED products than the L.A. area production establishment. The rest of the production world deserves a lot more respect than I see exhibited on this thread.
This is no place for genre bias, elitism, disrespect, and infighting. A little knowledge is dangerous. More experience and knowledge usually engenders respect for others, and an open mind. If knowledge is taken correctly, the more someone learns the more they should realize they don’t know. There are people here who get real brave behind a keyboard showboating for their peers – and say blunt and uncalled for things that they would never say to others to their face.
Now back to Epic:
RED One, and Epic, and Scarlet are closest in technology to a DSLR, moderately close to a video camera, and only faintly close to a traditional film camera. Technology driven media convergence has drawn professionals to RED camera systems from four industries: film, television, video, and still photography. As such, those professionals, and the inherent utility and flexibility of RED cameras, determines that the needs of various professionals who are buying RED cameras are diverse – thus in wisdom, RED has (and is) designing their camera systems to be scalable, flexibly, and adaptable. The concept is simple: start with a central heart (chip, sensor, buses, mount, etc.) and through a wide variety of accessories anyone in any genre of industry can build the camera outward for each successive project. If that scenario doesn’t exactly fit the union dominated, crusty, elitist few who ironically buy the least camera equipment but squawk the loudest to demonstrate for everyone that they supposedly on top of the pecking order, well IMO that’s just tough. If I owned RED I’d be designing my products to sell to the highest common denominator who buys the most equipment – the vast pool of non-narrative, non-L.A. imaging professionals who are the huge silent majority - on this board at least.
Narrative cinema is but one division of digital cinema, which is in turn a small percentage of the overall motion media business. The production world doesn’t revolve around narrative cinema and it also doesn’t revolve around L.A. I think its time for any here with an L.A. elitist attitude to resolve to check your egos at the door of RED user and acknowledge that there are tens of thousands of pro workers in this industry who can help you to expand your minds, skill sets, and businesses.
Epic is a work in progress. This render isn’t “the perfect camera”, but then again it has a lot of well thought out concepts. It’s getting there. RED is in the business of selling camera equipment. Flexible equipment with a high utilitarian can simply be used in more production scenarios and genres – thus enabling more sales of equipment. The broader the utility, the higher the potential sales quotient. If you in-build the utility and ergonomics of a digital cinema camera system around the needs and wish list of one small portion of the motion media industry, guess what, you’ve just diminished your sales potential to the rest of the industry. But if you design a system with a central heart that is buildable outward with accessories to whatever you need to shoot, then you’ve not only kept a bigger percentage of the industry happy – but you’ve also increased your sales potential.
I think its time for some here to back away from the crack pipe for a reality check. There is a diverse array of professionals buying and using RED cameras, they all deserve respect, and RED needs to operate as a smart business.
I’ve put my money where my mouth is by buying multiple RED One cameras and a slew of accessories and lenses. I’ll also be buying multiple Epic and Scarlet cameras. I’m getting real tired of others who are presumptuous enough to think they are speaking for all of us when they yipe, bitch, and complain about features of the cameras for their own little niche or geographical location of this industry. They don’t speak for all of us…we can speak for ourselves thank you.
I’ve been blunt, but let me say that I do respect everyone who works in the overall motion media industry. Respect is a 2-way street…and I think its time for some members here to exhibit a little respect for others in this industry.
