Is RED better then others? If so why?

[jdoe]

Is the RED camera better then cameras by Canon, JVC, Sony, ect? If so why specifically?

I am looking to purchase a camera for A class excellent film making and want a professional look and also consider price and what not.

Also, what is the deal with the Scarlet and the Epic? How are they different from the One? Price, quality, specs, certain specific purpose? and the different multiple lenses what are they for?

 

[Liam Hall]

It depends what you mean by bette. Different jobs require different tools. Is a hammer better than a spanner?

 

[jdoe]

Well, I just want a cam to make professional cinematic films with. I just want it to look great with hd, low light performance, and all the other things. I am not sure how to be more specific as I lack knowledge in all the specs. I just figured that there must be a cam that by it's technology and price outperforms and is superior in quality then others. For one I am told to get a cam with the biggest 3CCD's. So, maybe I am asking for things like that. Could you maybe tell me what specific things I should be looking for?

 

[A. Bastaki]

jdoe, I would first recommend that you learn the craft of filmmaking, picking the right tools come along the way.

 

[Tim Whitcomb]

www.red.com if you go there, every question you asked will be answered.

 

[Liam Hall]

jdoe, is that your real name?

 

[David Rasberry]

Go to Red.com and click on the Scarlet/Epic section to get a rundown of the basic specs. New sensors, new sizes, modular camera system. Scarlet and Epic will share the same sensors and should produce the same quality of image. Epic has much more powerful processing for high speed high frame rate shooting, but the Scarlet line will offer excellent value for the money.
For many the major advantage is the use of 35mm size sensors and optics for more cinematic quality images.
If HD video is your primary interest, Scarlet offers so far the only under $10k for a practical package 2/3" HD solution. The next lowest cost 2/3" cam is the Panny HVX500, at $11,500 for a body only and Scarlet at 3k will shoot nearly 2-1/2 times HD pixel resolution at up to 150fps rates.
The other big advantage to RED is REDCODE raw image acquisition. Raw acquisition gives a lot more post flexibility for grading color and look of the images at the expense of a somewhat more complex work flow.

 

[Ramona Howard]

It certainly makes sense to visit a rental house that carries all kinds of cameras so you can get a hands on view of what you could use and afford. Each camera has it advantages and disadvantages and the knowledge must be gained on this before you can make a logical solution. You wouldn't go out and just buy a sports car because it is engineered as being well built, when in fact you need a car that can haul 6 people Use the proper tool for the job and many sacrifices in between if you don't......

I have seen amazing films made on everything from film to mini DV cameras. It is about the art and only the art! Any weapon in the right hands can be deadly.....

If your in LA you have an abundance of shops to choose from.

Best of luck,
Ramona

 

[Noah Kadner]

Hire a crew- camera alone doesn't guarantee "A class excellent film making" That's talent not gear.

Noah

 

[Eric S.]

Hey Jdoe,

You're obviously very excited to get started in filmmaking, but there is a lot to learn, and digesting all the info slowly is a good idea. If you have the money, then the RED ONE is a phenomenal choice. But it'll cost you about $20,000 USD for the body, $10,000+ for accessories, and then more on top of that for lenses. That doesn't take into account a light kit, c-stands, tripod, audio gear, etc.

The RED ONE provides cinematic DoF and image quality with a raw-based workflow that allows for great freedom in post. The RED doesn't quite have the same dynamic latitude that traditional film does, but if exposed properly, can produce stunning results. Its closest digital camera competitors are things like the Viper, Varicam, and Genesis, which typically cost much more and don't come with Jim Jannard and Team RED's unyielding pursuit of perfection.

This industry can be very exciting. I'm sure you have lots of questions. But the first step for you is to read all you can. Learn the basics. There is a ton of information here on the forum. Use the search function. Also, another good forum is DVXuser.com.

Welcome to REDuser and good luck in your learning!

 

[Mark B.]

When reading about the subject, try to get recent books. The "3-CCD's for quality" concept was obsoleted about 3 years ago.

 

[Jannard]

Need real names. People who want to post here are stepping up and giving their names. Those that don't can post somewhere else.

Jim

 

[Jordi Figueras]

IMHO it's the DoP, Art Director, Soundman and so on who is going to tell you which is the right tool for the job.
The Red One is the best, not to say the only, Digital Cinema Camera affordable, and it really stands out. In every movie I've seen shoot with the Genesis for example, I've always noticed some motion blur typical from video cameras (although they got great cinematography, don't get me wrong ex: "Get Smart" or "Apocalypto"), can't say the same about the Red One. In every movie I've seen shoot with it, if you don't know it's digital, you'll never notice. In fact I've always forgot about it 10 min. into the movie (with "Che" and "Knowing").
If you are trying to do everything by yourself and don't have the knowledge, just go for a prosumer HD camera to perfect your skills.
Good Luck.

Jordi Figueras
Dop

 

[David Mullen ASC]

I would do a little basic research first on the specs and features of these various cameras relative to their costs -- and then ask some questions for further clarification.

It's too much to explain in a single post, all the different recording specs and camera designs, etc.

Honestly, the Red One is a $30,000+ package, shoots 4K RAW, so what are you comparing it to? A $100,000+ high-end pro HD camera or an under $10,000 prosumer HD camera?

You can't spend your money wisely until you know exactly what you want, and "I want an A-grade high-end looking movie" is not being exact. Being exact means knowing how much money you have to spend and what features and image characteristics are most important to you, knowing what lenses you want and why, etc.