Carey Lee Coffey
Well-known member
I came across this article on Forbes website. It's the biggest heap of bullshit lies and anti-Red rhetoric I've ever read. I copy/pasted some of the ridiculousness below. It's good for a laugh. Enjoy.
”At first glance, Scarlet might sound like the better deal. But RED cameras typically require a bunch of expensive extras. That’s part of the company’s strategy; lure filmmakers with a low base price and hit their pockets later with a plethora of expensive add-ons.”
“Theoretically, other Hollywood filmmakers should have been eager to order their own custom cameras from Sony. But they didn’t. They looked for cheaper alternatives, hence the success of the RED One. Unfortunately for moviegoers, this means that digital-only movies tend to look much worse than those that were shot on film.”
• In addition to beating the RED One at its own game, the C300 undercuts the release of Scarlet, RED’s long-awaited low-cost alternative (at twice the price, mind you).
• More importantly, the C300 gives tomorrow’s filmmakers a superior upgrade option when they move beyond their low-cost indie roots.
• The transition from the 5D Mark II to C300 should be fairly seamless.
• The compact size makes it insanely versatile.
• Unless Scarlet proves to be a vastly superior camera, the C300 is likely to take over this area of the market.
• Expect smaller and cost-cutting studios to be the earliest adopters of the C300. Look for a few heavy hitters in Hollywood to experiment with the format.
• This could easily become a prominent player in commercial development (an area where Canon’s existing cameras already excel).
• The C300 could become a leader in television production as well.
”At first glance, Scarlet might sound like the better deal. But RED cameras typically require a bunch of expensive extras. That’s part of the company’s strategy; lure filmmakers with a low base price and hit their pockets later with a plethora of expensive add-ons.”
“Theoretically, other Hollywood filmmakers should have been eager to order their own custom cameras from Sony. But they didn’t. They looked for cheaper alternatives, hence the success of the RED One. Unfortunately for moviegoers, this means that digital-only movies tend to look much worse than those that were shot on film.”
• In addition to beating the RED One at its own game, the C300 undercuts the release of Scarlet, RED’s long-awaited low-cost alternative (at twice the price, mind you).
• More importantly, the C300 gives tomorrow’s filmmakers a superior upgrade option when they move beyond their low-cost indie roots.
• The transition from the 5D Mark II to C300 should be fairly seamless.
• The compact size makes it insanely versatile.
• Unless Scarlet proves to be a vastly superior camera, the C300 is likely to take over this area of the market.
• Expect smaller and cost-cutting studios to be the earliest adopters of the C300. Look for a few heavy hitters in Hollywood to experiment with the format.
• This could easily become a prominent player in commercial development (an area where Canon’s existing cameras already excel).
• The C300 could become a leader in television production as well.
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