Keeping the RED ONE - a good idea?

[Greg M]

I'm keeping Red One. Here's where I learned I was a p@ssy. http://www.youtube.com/watch?v=SIi4mny_Gl0&feature=player_embedded#!

wow, that brought back some memories...its really a shame my son will never know what its like to load a mag in a changing bag.

 

[Steve Sherrick]

wow, that brought back some memories...its really a shame my son will never know what its like to load a mag in a changing bag.

He's still got a chance. Film's not dead yet. Convincing him to do it might be the harder part.

To really backup my rant there, I should probably buy back that 18-90 from you and then really see what I'm made of. I'm coping out and using tiny Nikon primes that way practically nothing on the camera and those times when I'm not using a mattebox and going solid state the camera weighs a mere 15lbs.

 

[Ken Willinger]

I need to grow some dreads!

 

[Rob Ruffo]

I think there's some great life left in the Red One. Recently, I had clients turn down my Epic X for my Red One MX instead. Like a lot of clients, they have enough pressure on them already about everything going right for their shoot. So they want a production flow that is rock solid, and no hiccups in post. It's the same reason a lot of productions initially held to film before going to Red One. Sure it will pass as the Epic and Scarlet solidify, but for now the R1 is still very effective.

In the long run, provided Red keeps the Scarlet specs where they are and doesn’t upgrade it to the full capabilities of the R1 MX, it will then boil down to needs. For commercial and music videos, I’m shooting a lot of 4.5k. R1 does that incredibly. As with anything, it takes educating the client. Once clients see the possibility of reframing shots within 4.5k, or taking a Medium and CU shot from the same clip, it’s real hard for them to go back to shooting lower rez. I’m also shooting a lot of 2K at 120fps. I don’t think I want to crop down to 1K at 120fps.

Yes, the Red One is bigger, but I attach some big lenses to it. If size is a problem, you now have two choices. I do many shoots where the camera never leaves the tripod anyways. One funny thing is the client’s perspective. I see clients all the time that are more impressed by a bigger camera (and matte box), than a smaller setup. As long as they write the check and are happy with the results, then I am happy.

Again, I think the Scarlet specs are where they should be. Awesome, but not fully surpassing the Red One. It is an excellent fit. With the Scarlet, Red One MX, and Epic, Red truly created “three of a kind”.

Now, I do hang some hopes on Jarred’s mention that “Stage 2 owners will be glad they held on to their Red Ones.” C’mon, Red, surprise us again! I can’t imagine you taking back all those Stage 3 Red Ones without upgrading them to Monstro and re-selling them as BT Monstro. If I could, I'd be buying more than one of these Red Ones for sale. Already offered my Land Cruiser for Mark Phelan's R1. Alas, he wouldn't take my offer. : = (
All the best,
lael

My experience with high-budget cine style music video and fashion shoots has been identical to yours. It seems fine to shoot one on mX, but already the Scarlet, not even out, is the "low-budget camera" my clients would never tolerate. MX is the "safe Epic to use when Epic specific features are not needed". I find it pointless to argue with clients unless they ask for something stupid like a DSLR.