First, I'd say the concept of the DSLR sized camera that even RED has embraces is proving itself to be what people want because they can use it almost anywhere. I took a wide lens (10mm) put my 7D on the end of my monopod and shoved it up in a tree to take a neat overhead shot. I could NOT imagine doing that with most other cameras. People are excited by multiple aspects, not just the video itself.
But the truth is, and interesting part, is using a 5D/7D is/will be MUCH MORE difficult than a One/Scarlet/Epic and people ARE willing to trade the simplicity in terms of shots for the other added benefits. I've never seen a Red Once shoot as nice of night shots, but that was before the MX sensor, which the night shots we have seen are amazing. For people like me who do this on the side, the cost/performance ratio up til now is not there. Like I said, $50k for a red package (is that right?) I would NEVER pay back with the amount of work I currently do. Eventually I would, but I feel until the Scarlet is released, for me, economically, the 7D is perfect. I THANK Canon for what they've done.
I used to get this is the audio industry all the time, the "You are taking business away from me with your digital crap!" and the arguments I would have. 95% of people could care less if you used a $5k compressor on the mix. The audio monitors I used are better than 99.9% of the speakers my music is probably heard through. That's the problem. The people who were mixing music were out of touch with the people who were buying the product. The people paying you for doing this music are not. People are mixing art with business. If someone can get by shooting something for 1/5th the price and still sell the same # of units they are going to do it, simple economics.
For many of you, why wouldn't you be upset? The clients want to spend less with an expected result that they expect you to get. You CAN get great results with a 5D/7D but guess what? It means you have to work WAY harder to get them. You have to scrutinize every shot, check for Moire, check for aliasing, look for compression artifacts, jello, skew, and lets not even get to the sound part of things. The fact is, it is doable, it's just harder and frankly you waste a lot of time and shots dealing with camera short-comings. In other words, your job just got harder for less money.
That said, there are other people willing to do it for that less money. It's just a fact of capitalism.
But beyond all that, I implore you to look at one awesome aspect of this. Imagine how much easier it is to get the Scarlet or Epic into a production after all these places have dealt with the painful parts of working with the 5D/7D in the future. Not like these problems are going to go away. In the future, these cameras will eventually make selling your skills EASIER
As an off-topic, I think the S35 is going to be the dominant Scarlet brain. After using the 5D myself, I do not prefer full frame. I know tastes vary, but keeping things in focus can be a nightmare in some situations. I am going with the Scarlet Fixed/S35 brain combo because the S35 will be closest to the sensor size in my 7D which I really like that format.
I'm sure in like a year we're going to be seeing this discussion over at other boards "House 2011 pisses me off! Why do they use a Scarlet and how come no one wants to use my Arri camera"
Graeme explains it better than I do :
