The Good Enough Revolution

[Roberto Lequeux]

Barry Green shared a link to this article over at DVXuser saying it is a must read. I definitely enjoyed it.

"The Good Enough Revolution: When Cheap and Simple Is Just Fine" by Robert Capps


Maybe Jim hasn't told us about a third line of cameras he is planing to release after establishing Red's name with Epic and Scarlet.
The REAL cash cow. :coolgleamA:

 

[Paul Lee]

Yes, VERY good article and a must read. Sort of terrifying and exciting at the same time. Makes me think: shooting 4k but listening to MP3's on iPod...

 

[Matthew Bennett]

I read this article too (from WIRED magazine), and then realized, yes, it's great to shoot 4K, but all people really want is to look at an insanely decimated flash file on youtube... as long as it's convenient, fast, entertaining and practical.

An interesting thing in that article is that many students when presented with CD quality audio vs. Mp3 in a 'listening test', choose Mp3 as the 'correct' or 'better' sound...

From the wee knowledge I've accrued in my lifetime, it's seems like 'practicality' is the defining victorious force for many human endeavours and technologies. And practicality is always the ugliest option.

 

[ford_jj]

I 'll read the article soon, It sounds good.

 

[Jeff Kilgroe]

I think RED needs to revisit the concept of "professional pocket camera". You know, what Scarlet was originally announced as. I'd love to have a semi-compact point and shoot camera that could give me RAW stills and 1080p RAW video at 24fps. ...Just sayin'

 

[PatrickW]

Good enough for today, or good enough for tomorrow?

I do however like how technology has progessed to a point where it is good enough for new artists to have cheap and simple tools to create works that have the distribution system of the internet to filter talent. It gives the potential for more great artists to gain a following, which brings the dollars, to create bigger and better art in the future.

But it is extremely relevant that good enough is fine for many things, but user interface (simplicity of use) still is very important, and shouldn't been "good enough".

 

[Carmel Bruno]

I think RED needs to revisit the concept of "professional pocket camera". You know, what Scarlet was originally announced as. I'd love to have a semi-compact point and shoot camera that could give me RAW stills and 1080p RAW video at 24fps. ...Just sayin'

there are many cameras out there that will service YouTube. And now we will have thousands of iPod video cameras in practically everybody's hands.. and that is just great.

But the RED camera is a very different beast, purposely made for a very different job, and there is no comparison between the two. Horses for courses. I cannot even imagine someone filming purposely for YouTube on a RED camera.

 

[PatrickW]

I think RED needs to revisit the concept of "professional pocket camera". You know, what Scarlet was originally announced as. I'd love to have a semi-compact point and shoot camera that could give me RAW stills and 1080p RAW video at 24fps. ...Just sayin'

I think something like that would be hugely popular if released at a competitive price very soon. If its released years from now, would it still be good enough?

 

[Christian Edwards]

I think RED needs to revisit the concept of "professional pocket camera". You know, what Scarlet was originally announced as. I'd love to have a semi-compact point and shoot camera that could give me RAW stills and 1080p RAW video at 24fps. ...Just sayin'

Red lipstick camera would be FAB

 

[Ethan Cooper]

I think RED needs to revisit the concept of "professional pocket camera". You know, what Scarlet was originally announced as. I'd love to have a semi-compact point and shoot camera that could give me RAW stills and 1080p RAW video at 24fps. ...Just sayin'

It's funny, but I forgot about that phrase that started all this Scarlet talk. "Professional Pocket Camera" sure has turned into something different than what we all thought in the beginning.

I did and didn't agree with the article. To me he came across as over stating the point, I really don't think it's as dire as he makes it out to be. There have always been clients who understand the need for quality work and there are the clients who are simple interested in the bottom line, quality be damed. I'm not sure this dynamic has changed much, but what has changed is that it's gotten easier and cheaper to turn out work for the bottom feeders that looks ok.

There isn't as stark a difference between the higher quality production and that of a lower budget as there once was, but if you ask me it's more about the availability of knowledge than the evolution of equipment. Where the skills were once learned over a period of years in a semi-closed system of DP's and assistants we now have a free and open knowledge base on the internet where people can tap into the tricks of the trade and apply them with readily available gear that doesn't require a degree to run.

 

[Joel Kaye]

I think RED needs to revisit the concept of "professional pocket camera". You know, what Scarlet was originally announced as. I'd love to have a semi-compact point and shoot camera that could give me RAW stills and 1080p RAW video at 24fps. ...Just sayin'

Yeah. I really "get" that idea.

What Scarlet has become I sorta don't get. I think EPIC should be the pro camera and possibly at RED's price point. (might not be possible-understood)

In light of things like the 7D, I just think both a 2/3" and s35 Scarlet might be hanging out in no man's land. It's really too expensive a system to compete with a 7D. Mostly working pros will afford a real Scarlet s35 or FF but they'll probably go for the EPIC because they're pros and want to be perceived that way.

Doesn't every guy who's been waiting on a 2/3" Scarlet fixed lens give the 7D a serious look? I think so. It's the chip they really wanted in the first place. And interchangeable lenses like they wanted in the first place. From there's it's just "does the codec look good enough to them".

Owning a RED myself I know half the stuff I deliver is 720P and sometimes even from the 1K proxy. I think 1080P is probably plenty "Good Enough" for the whole lens adapter crowd. On the big project with proper funding they can rent an EPIC and do it really right.

The original plan was a professional pocket Scarlet that would sell a TON of units if my memory serves. Probably was the right idea. Might not be technically feasible though.

 

[Jeff Kilgroe]

I cannot even imagine someone filming purposely for YouTube on a RED camera.

I've done it. Looks great. :thumbup:

 

[Stuart English]

Good enough

Good enough

"Good enough" or "strip away the complexity" has always been a factor - nothing new here.

The measure of a camera remains does it meet your need / can you get paid for shooting with it?

 

[Joseph Ward]

Red lipstick camera would be FAB

Why not just use any Brain with Lens separately from the other electronics, then feed them hardwired or wireless. You can have a Hard-lined camera powered and data transmitted for those needed shots away from the other equipment.

 

[Eki Halkka]

Mostly working pros will afford a real Scarlet s35 or FF but they'll probably go for the EPIC because they're pros and want to be perceived that way.

Actually, pros don't have an issue with 2/3" sensors at all - for many things, they are better than S35 size, being more compact and generally easier to keep in focus, especially in run-n-gun situations. It's mainly hobbyist indie enthusiasts who are obsessed with ultra shallow DOF and large sensors, not pros.

The original plan was a professional pocket Scarlet that would sell a TON of units if my memory serves. Probably was the right idea. Might not be technically feasible though.

The fixed lens Scarlet is really very similar to the original Scarlet, as far as i can tell. The main difference is that it CAN be expanded with modules - but it doesn't HAVE to be.

 

[Hrvoje Simic]

In light of things like the 7D, I just think both a 2/3" and s35 Scarlet might be hanging out in no man's land. It's really too expensive a system to compete with a 7D.

Totally disagree here. I think both Scarlets will sell like crazy. Also, Scarlets and 7D are not in the same category.

Both Scarlets are a bargain, IMO.

Doesn't every guy who's been waiting on a 2/3" Scarlet fixed lens give the 7D a serious look?

My guess is that an average 2/3" Scarlet buyer will be more experienced (motion imaging) shooter than an average 7D buyer.

It's the chip they really wanted in the first place. And interchangeable lenses like they wanted in the first place. From there's it's just "does the codec look good enough to them".

I agree on the "codec looking good enough", which is the one of the reasons for the craze about stills cameras shooting video in delivery codec.

 

[Joel Kaye]

Actually, pros don't have an issue with 2/3" sensors at all...

Totally agree - pros don't have a problem with 1/2" or 2/3" for a tons of stuff. I didn't mean to imply that.

I think Scarlet is targeted at the enthusiast/serious hobbiest/lens adapter crowd. At least that's my impression. So yeah - they want movielike DOF at 24P that works well in low light. Same now as it was four years ago.

 

[Joel Kaye]

My guess is that an average 2/3" Scarlet buyer will be more experienced (motion imaging) shooter than an average 7D buyer.

Yes. But that would be a much, much smaller market to target. If you go back in time a lot of people were talking about Soccer moms becoming Scarlet moms. Tough to imagine that now.

 

[Roberto Lequeux]

Students liking MP3 more as time passes comes from becoming accustomed to hearing the biggest and most popular bands in that format. Over time they subconsciously associate that sound with successful or mainstream bands. I bet if you asked the average age of those who find LPs to have "the highest fidelity" you will find out that it is people who grew up listening to LPs.

Also, sure, content is king, always will be. However, expectations are higher for good cable channels, network TV and films. The artful delivery of content does hold value of its own. While the best concept filmed on one of those little cameras WILL beat a crappy concept filmed on 70mm film, the best concept IS better if delivered with talent and with art on top. People will always appreciate and value art.

More specifically, bad sound and crappy IQ will tire you. Shooting Red or other high IQ cameras helps allow the audience to remain focused on what you are doing. Unless you are going for that sort of uncomfortable feeling... then again shooting Red also gives you options. You can make RAW look like anything, you can't make a crappy camera look beautiful.

I found the article to be very interesting, but I don't see it proving that Red's business model has a weak foundation, at all.

 

[J Davis]

I cannot even imagine someone filming purposely for YouTube on a RED camera.

I've done it. Looks great. :thumbup:

Working in advertising in New York I see red shoots for the web all the time

In light of things like the 7D, I just think both a 2/3" and s35 Scarlet might be hanging out in no man's land.

I'm on the 7D preorder list, and the only thing I look forward to more than shooting with it ... is selling it for a scarlet. No contest.