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RED Cuts EPIC Price in Half: EPIC-X Now $19,000, SCARLET Under $8K, RED ONE Goes 4.5K for $4K

11.1.12 @ 8:17PM Tags : , , , ,

We knew RED was going to respond to the recent announcement from Sony, and respond they have. RED has recouped their initial costs for the EPIC project, and that means they’ve decided to cut the prices on both the EPIC and SCARLET platform (since SCARLET shares many of the same parts as the EPIC). If you’ve been waiting to buy one of these high-end cameras, there hasn’t been a better time than now, especially since RED has created an upgrade path for their new Dragon sensor. They’ve also dropped a serious bomb with a new battle-tested RED ONE MX. Without further ado, click through for the new prices.

This post will be updated as more information is released.

These are the new prices:

  • 5K EPIC-X Brain – $19,000
  • 5K EPIC-X Monochrome Brain – $20,000
  • 5K EPIC-M Brain – $24,000
  • 5K/4K Scarlet Brain – $7,950
  • 4.5K RED ONE M-X Battle Tested – $4000 (includes CF or SSD recording module)

[Update]: Looks like the RED ONE MX with the CF module is sold out, as the page is no longer available. You can always buy the SSD version and the $500 module, which is actually cheaper than if you bought the $4,000 CF and wanted the $1,500 SSD module later.

Here is what Jim said about new pricing in a post on REDUser:

As I said before, everything in the electronics world changes… usually for the better, cheaper and faster. EPIC and Scarlet just did. Right now.

We have built an incredibly efficient factory in Irvine, California and over time learned how to make EPICs in quantity, lowered our assembly costs, found better suppliers and fully paid off our NRE. When we assembled the 1st EPIC camera in Stage 6 at RED Studios Hollywood it took our team 12 hours. It took two more days to de-bug. Today we can assemble an EPIC in 13 minutes and 95+% need no re-work after diagnostics and testing. It is a testament to our manufacturing team and supply chain teams.

Since our costs are now significantly lower we are re-pricing our cameras as of now.

For those of you that purchased a new Scarlet or EPIC brain on or after Oct. 1st 2012, the next time you order accessories from RED you will receive a discount to use towards that purchase. $1000 for Scarlet and $4000 for EPIC. Talk to your Bomb Squad representative when you are ready to use this discount.

Now… here is the new pricing:

5K EPIC-X Brain- $19,000

5K EPIC-X Monochrome Brain- $20,000

5K EPIC-M Brain- $24,000

5K/4K Scarlet Brain- $7,950

4.5K RED ONE M-X Battle Tested- $4000 (includes CF or SSD recording module). The RED ONE is End of Life. Battle tested is all that will be available from here on out.

Due to high anticipated volumes, plan on extended response and processing times.

Dragon sensor upgrade is not included for any EPIC system purchased at the new pricing going forward.

Pricing is being updated on as I post this.

So how does this compare to the old prices for just the brain? Here are the comparisons

  • RED EPIC-M: $24,000 vs. $39,500
  • RED EPIC-X: $19,000 vs. $34,500
  • RED SCARLET-X: $7,950 vs. $9,700
  • RED ONE MX: $4,000 vs. $25,000

This is big news for the camera industry. Jim has already said that he appreciated what Sony was doing with their new cameras, but that he didn’t believe they were any competition for the EPIC and SCARLET. Now we know why, and part of it is price. Since they’ve paid off NRE (non-recurring engineering) for the EPIC project, it means that the whole system is currently making money with each new camera they build — which also means they can sell it for less money. This is good for consumers, it means you can enter into the RED system for a lot less money than previously thought, and it also means the new Dragon equipped EPICs should compete price-wise with the new cameras from Sony (without most of the compressed modes of course). This also means we should see some reductions in used camera prices.

Battle-tested RED ONE MXs are a serious contender to Blackmagic and other lower-priced cameras. I don’t think anyone saw that coming. Of course they don’t feature an ND filter and are based on older technology, but you’re getting mostly everything the SCARLET can do (and more since the ONE can do 4.5K) for half the price. They are used, yes, and the boot-up time is longer, but it’s still an amazing deal.

You should keep in mind that the above prices are the brain only, and you’ll still need some accessories to make them work. Also of note, RED had a deal going where if you purchased $50,000 worth of an EPIC camera system, your Dragon upgrade was free. That deal has now ended, but even new EPIC owners will be able to pay $6,000 for a new Dragon sensor upgrade.

You can find the new cameras (including the RED ONE MX) using the link below.

What do you guys think? Will you pull the trigger on an EPIC, SCARLET, or RED ONE MX now?


Related Posts

  1. RED EPIC-X Now Available for Ordering, SCARLET-X Increasing in Price by $2K
  2. RED to Cut Prices on EPIC and SCARLET Cameras November 1st, Dragon Sensor Delayed
  3. RED Claims Dragon Sensor Doubles EPIC/SCARLET Sensitivity, ISO 2000 Cleaner Than ISO 800


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  • Well, after watching this and Sony’s announcements unfold and analyzing and obsessing, I finally bit the bullet and pulled the trigger….on an FS700. Not that Scarlet doesn’t look attractive, but Sony feels like a good fit for me. Great image and ridiculous overcrank now….4K raw later on when I may have some need for it. These are good times; there are a lot of options and each of the major players is working out its own niche…..except Canon…..I have no idea what the hell they are doing.

    Go Red. Go Sony. Go filmmakers.

    • Ah yes, the FS700. Possibly the only camera on earth where if you DOUBLED its price, it would probably still sell a few.

    • Canon is doing fine enough I think. The C500 may be a lot more pleasant to work with than the RED or Sony equivalents, although there will be partisans on the look.

      If Canon is offering two more stops of low light, consider the impact of shooting Canon on the rest of your budget. Two stops makes dinky Lowel Pro-Lights into ARRI 1K’s. You can shoot without a generator and with LED panels out in the woods if you need to. You have commodity media, plentiful and cheap glass options and great ergonomics and build. You also have internal 1080p for convenience.

      Canons are fine cameras to own. RED saturated the rental market and now is trying to get people to buy. But how many 4K features do people actually shoot a year? If you are shooting narratives more than 60 days a year, really, then fine, pick amongst the Alexa RED and Sony options and save money vs. renting. But most people are still doing 1080p work primarily and need to adapt to a wide variety of budgets and shooting situations with minimal hassle and they are going to buy Canons and rent the camera du jour for clients ambitious enough to go 4K just as they will a Phantom for HFR.

      The best upshot of this news is the RED rental rates should come down a third or so because the buy/rent equation has.

      • Please explain how uncompressed 4k raw is easier to deal with then redcode. And I know the c300 is barely more sensitive than the f3 so I doubt the c500 will beat out the f5 there. Also you can’t just shoot at high ISO at least for serious productions, it shifts the dynamic range around and canon cams don’t clip nicely. The problem with canon cams is that they have no innovations other than ergonomics, red brought 4k raw, Arri brought prores, Sony brought low light, now compression versitility, there cams are solid but what’s canons tech break through?

        • brian merkeb on 11.2.12 @ 11:33AM

          dude they brought out the “you can change ur lens” concept lol

        • To your first question: Uncompressed 4K RAW may well be easier to work with and cheaper to boot. If the C500 allows the use of external recorders that use commodity SSDs, and RED SSDs have a 10:1 price markup, then you will have to use 10:1 compression on the RED to shoot as cheaply as on the C500…meaning that your IQ is going to suffer commensurately or your budget will. I don’t care if the SSD I put into the recorder is 512GB or 64GB, what matters is how long I can shoot on it for what cost.

          Then on the post side of the equation the uncompressed RAW may not need a $6000 RED ROCKET card and may offer lots more options for RAW conversion. I don’t know all of these details about the C500 yet but if I was shopping for one of these I would certainly bone up on them.

          • Well just giving you a heads up on a 64 gig card you’ll get around 3 minutes of uncompressed record time on the c500. I don’t think that sort of data rate is easier to deal with

          • You don’t need a Red Rocket unless you need to edit in 4k. Otherwise you just drop the resolution down.

          • The $4000 Aja Ki Pro Quad can take the 4K RAW of the C500 and debayer it direct to ProRes on commodity SSDs if you don’t want to record uncompressed. The C500, which btw is in stock at B&H as I type this, also records a 50mbps proxy internally at the same time to CF, so you have a complete 4K, 60fps system, all media and batteries included, for well under $35K that can record all day long without an unload if that is the assignment. Epic pricing still can’t touch that, Scarlet’s media costs are so high that it only roughly matches that price. And you don’t get the proxy or direct-to-ProRes without a $13K Meizler Module, and the media cost is so high you are less likely to use the safety of redundancy.

            Price-no-object people are of course only going to think about what the right system for their film is and will have DITs and such worry about the details. The pretentious will try to buy their way into matching them but may be just giving themselves headaches. Canon doesn’t sell much to either of those parties but instead to the people who are most interested in avoiding headaches and still having something to be proud of at the end of the day. On the shoots I’ve been on with Epics there’s always a lot of fuss. I’ve never witnessed fuss with the C300, it’s as if it just works, and the operators are more interested in what they are shooting than how to work this damn thing.

          • If you record Proress you lose raw, If you just want prores 4k then why not get a 1dc. Its half price. C500 users are buying for raw. I don’t know how big the market is for people who want to shoot 4k compressed baked for 8 hours without a dump

            The offline online argument is weak for the c500, its the only option that requires an external recorder, rail support and external power, modules for proxy/master solutions are the future.

            Scarlet media is not expensive is 500 for a 50 gig card.

            There are plenty of prores proxy options for scarlet and epic, you don’t need a meizer module, I don’t understand what you mean.

            The best part of Red media is the dump speed. I can dump a 64 gig card via usb 3.0 and have it backed up in a raid config in 3 minutes. I’ve never needed more than three cards for anything shooting all day. These media issues are myths.

            The c500 is a huge headache!!!!. To get 4k you need an external recorder external power and a rail support system and two connect hd sdi cables. And Canon has no 4k raw codec, its uncompressed, nobody wants uncompressed. What wouldn’t be a headache is if you have the proxy recording and masters on the same body no external nothing, o wait sony is doing that. Their solution is no headache. Not to mention canon only has 12 stops dynamic range vs dragon 14-15 and sony 14.

            I’ve shot on the c300 plenty too and never had an issue with it, the codec is very robust, but its overpriced. Epic is not.

        • Jay slocum on 11.2.12 @ 4:25PM

          Canon made waves with the 5d Mark three years ago and honestly have not did shiiit since then, but overly priced stuff. IMO they are irrelevant to everyday working film makers who dont have backings of major hollywood studios. Even spike lee bought a Sony digital camera over the overly priced C5OO.

          When and if the 5D MARK 3 offers uncompressed video with working lcd, then i may consider buying a refurbished one for a B or C camera for low light because the 5D MARK 3 did a good job with moire and aliasing, but if not i getting FS100 for lowlight and BMC , SONY, or REd for RAW and main camera, canon is old news.

  • Nice move! now I`m getting the F55, after heard and witnessed too many technical failures of the Red One and Epic, I would rather not show up with those on a real set…

    • Real sets like Hobbit, Prometheus, Social Network, Pirates 4, Spidey, Margin Call, Dredd…?


      • I never used a Red but I too I’m worried about their reliability. The big movies you list all have a bunch of cameras on set. So if one fails they just swap it. But for a small production with only one camera it’s more of a problem when the camera fails.

        • Nick Wernham on 11.2.12 @ 6:21PM

          I’ve been using our Scarlet for the better part of a year now COMPLETELY without issue. This is the first time I have used any camera for that long without any loss of footage for some reason or another.

          • I’ve used RED on an indie feature and several spots. The cameras are solid and reliable. Where they fell down was in the complexity of the rigging required – set up time. And in low light. We felt they maxed at 320 ASA. That slowed us down a bit more with the lighting required. But with the added dynamic range and resolution we were able to fix so many shots in post it was remarkable.

            That said, I would definitely consider other cameras for the next feature.

      • Those are sets where they didn’t turn up with an epic, they turned up with a dozen or more. When one fails they swap it out. Same happens on the shoots I work on when we use Red products.

        • Our Epic-X hasn’t failed. Not once. And right now is shooting a flick with Elijah Wood and Sasha Grey.

          • domenic barbero on 11.2.12 @ 1:10PM

            precisely. i have a scarlet, and ive shot a feature, a handful of shorts, several music videos, rented it out and has not failed once. Its been a solid workhorse.

          • konstantinos on 11.2.12 @ 11:50PM

            So are you doing the porn version of the Hobbit ?

  • Peter Kelly on 11.2.12 @ 4:14AM

    Wow, this is amazing news for anyone thinking about buying any brand of camera.

    I’m gonna hold off a bit and see how Sony/Canon re-act to this. Prices on the $6000 -$8000 cameras are surely gonna have to come down now and that’s what I’ll be looking at.

    Very exciting times

    • If a C300 dropped to $8k… I’d still probably opt for an FS700 or (yes, still) a BMCC.

      • Agreed. And from some footage I’ve seen so far the BMCC still has the most 16mm film look I’ve seen out of a digital camera so far.

        • But for the form factor though the C300 is hard to beat. Much better than FS700 on that side for run an gun.

          • C300 definitely has an advantage in form factor, but the frame rate options and internal ND definitely push the scale to Sony, for me at least. My worthless opinion :-)

            Honestly, though, I’d be really happy with either camera in my arsenal.

  • Ohhh! Amazing prices RED did.

  • So, who’s gonna lend me $4k? LOL :D

    • Maybe a bit more no? 4K is the brain only. No power, no LCD, no viewfinder, no memory card, no battery, no handle. I see more interesting deals on ebay with full packages.

      • I’m pretty sure the cameras will sell out really fast, getting the body for now would be the no.1 thing.

  • On a serious note tho, does red accept paypal? (I highly doubt it)

  • nigel Thompson on 11.2.12 @ 8:04AM

    Im told the RED ONE MX with CF cards sold out last night

  • Wow. This particular RED blog has a very brave new world feel about it. Barely read a negative comment!
    Remarkable :)))) RED is not perfect, they have made mistakes, they admit it. But they are certainly the most remarkable camera manufacturer on the planet and are truly helping to democratise film making.

    People love to state “it’s all about the story” now it can be for a LOT more people.

  • Top ten comments after Red announcement:

    10. I just saw coffee shoot out of Jeff Cronenweth’s nose.

    9. It said Abbie Normal.

    8. More K’s than the KKK

    7. Can I get magic Lantern for it?

    6.That stupid epic brain still costs as much as my boat. Hmmm, little camera or boat….

    5. More moms will be able to afford reds for their kids now.

    4. For the price of a new car you can now shoot a movie as nice as Prometheus.

    3. I can finally be a serious DP for $25k

    2. No need for film school, just a loan.

    1. What do I do with a camera brain?

  • Sorry about your RED REsale…if need be.

  • About time

  • This really is such a cool time to be a filmmaker… Although it is almost scary to think how fast technology is moving. I mean a $25,000 camera is now 4K. That is pretty insane. Definitely a possibility for me.

    • Hell, a freakin’ $400 GoPro now shoots 4K footage, people. Does anyone else realize just how INSANE that is?

      • Haven’t checked it out. heard cool stuff about it. Can use it for lotsa MOS shots. But, no audio, right?

      • Julian Terry on 11.2.12 @ 9:42AM

        The Red is trying to compete with GoPro!

      • The go-pro 4k is only 15fps….not sure what you’d use that for

        • …it was a joke, friend.

          That being said, 2.7K @ 30 fps, 1440p @ 48 fps, 1080p @ 60 fps, 960p @ 100 fps, and 720p @ 120 fps isn’t something to shake a stick at, either. All for $399, weighing about a pound and controllable by an iPhone. Crazy times, indeed.

        • timelapse bursts etc. handy during sunsets/sunrises

        • Agni Ortiz on 11.2.12 @ 2:29PM

          a faster than normal foot chase on treadmills with green screen background composited over 3d animation played to Skrillex ?

  • Alright. cool. pound for pound…spec for spec…how does BLACK MAGIC DIGITAL CAMERA compare EXACTLY to RED ONE:

    I know BLACk MAGIC is only 2.5 k raw compared to 4 k raw…but the specs, from a DP’s perspective? Who’s on the line now?

    • Getting a RED ONE over the BMC would be a no-brainer in my opinion. S35 vs S16-ish, the Mx sensor is still fantastic, RED ONE is built like a tank (and weighs nearly as much:), tons of accessories around for RED, different lens mounts available, 4.5k RAW etc etc….

      Honestly the S35 sensor is a big enough plus in and of itself for me.

    • I guess it really depends on the project and your budget. If you’re shooting a feature for $50k, RED is even more feasible now. But for ultra low-budget features, less than $10k – BMCC could be a great camera for something that would have shot on a DSLR last year. Of course, if you can get your hands on one :-)

    • As long as price is no object (RED accessories will cost more than with BMCC), there really is no comparison here. RED ONE by a long shot.

    • Pound for pound? I think RED one body is about 7 pounds heavier. *Snicker* Sorry.

      Larger sensor. 4.5K equals a lot lot more resolution than 2.5K, and 120FPS in 2k? BMCC also has resolve though and won’t require as many accessories… but imho, hands down, RED one is an unbelievable deal. And I’m a huge fan of the BMCC.

      If I knew what i know now when Scarlet was released, I would have waited and bought two RED ones instead. Hell I almost jumped on a full RED MX package with accessories etc for 14K instead of a Scarlet. Love her. But now for half the cost you can get twice the frame rates… and shoot 24p at a higher resolution. If it wasn’t for upgrade path for Scarlet I would be feeling pretty gutted right now. It’s a lot of hard work paying my credit cards to cover my Scarlet purchase.

  • nigel Thompson on 11.2.12 @ 9:37AM

    I love Alexas , just cant Afford one 89K……. SO ill buy me a RED, thanks bye

    • Jay slocum on 11.2.12 @ 4:39PM

      You dont need and ARRI when BMC can do 2.5k, just port in resolve do a minor change, then encode export to flavor of your choice for editing and walahhhh.

      Also the BMC also has PRO RES HQ 12 bit coming in at 220MBPS , with good color grading this is more than acceptable and amazing for small screen, indie flicks, and TV, WEB etc, could also hold up well as on big screen. The only back draw of this camera of course is getting the right lens for that wide shot, Nikon old AI-S lens stop at 20mm These hold up well on big screen. So the only option for ultra wide shot is VOIT 0.95 but it aint that sharp , so you could rent a ziess but in low light is not good unless you have lighting, So my suggesting is to just “back the h3ll back” to get your wides and use good ighting at night.

      Red Sounds good, but still not shoot ready for under 6k, Im still wating at the BMC bust stop waitng on it to come, but then again They if sony comes correct with the price, then im will pay more for a reliable company that actually will have backups , unlike BMC who as of yet can not even put out more than 12 cameras in the wild.

  • amazing.. but does this mean that Red rental packages and resell value for the R1 will drop in proportion??

    • …of course it does. Rental shops everywhere just got a huge punch in the gut. But for the renters, it’s great news.

  • Anthony Marino on 11.2.12 @ 11:16AM

    I own an Fs700 and wouldn’t think twice about ever owning a Red product. You can say what you want about Red but they are made in the USA and give a beautiful image. For me the Fs700 is more versatile right now but I salivate every time I see a red package. Its happy times for a lot of us right now, whether you’re using a GH2, BMCC or Epic and everything in between there’s a bunch of ways to capture some beautiful imagery at much lower costs. I’m not complaining. Cheers.

    • well said.

    • Amen.

      If you have the money, this announcement is a big deal. If you have an FS700, BMCC on the way, 7D, or GH2…. you can still make incredible images that weren’t possible on consumer cameras six years ago.

  • brian merlen on 11.2.12 @ 11:40AM

    the only thing going for Arri is their bankruptcy claim…oh that and the lawsuit for them hacking into red since they cannot innovate on their own for decades

    • No.

      Do you know what company DOMINATES at the moment both digital TV and cinema world ?

      Hint: it is not RED and it is not Sony.

      As much as megalomaniac Jannard would like to think otherwise.

      • The publishers of Twilight?

      • Oh, the megalomaniac is fully aware about mighty Arri and it’s marriage to the TV market.

      • Oooh! Oooh! Me! It’s Disney right!

      • Jay slocum on 11.3.12 @ 5:45PM

        Yeah but i bet money, that Arri most likely gave away hundreds if not hundreds if not more free cameras to marketing agencies, productions companies, and directors as an investment and marketing scheme. The fact of the matter is that if Arri does not realize that we are in a new era, new economy, and new world where owning a cinema camera capable of gracing the big screen can be owned by the common working man. Because honestly Arris priced above 60k are not flying off shelves and they are not recieving that much revenue from rental houses. Do not be suprised in a year or two if we see an affordable Arri under $18k. They already caved under pressure and produced a smaller version head because of the modular revolution that started with DSLR’s and was perfected by RED.

        • Jay slocum, is your Redfanboyism getting the better of you? Don’t know where you’re situated but, in Hollywood, Arri is still King and the rentals are mostly Arri’s… for serious work anyway. And that, “smaller version head” you mentioned had nothing to do with pressure from Red or anybody else. Don’t kid yourself. And I, a Red lover. :)

          • What exactly is a serious project though? Keep in mind Arri’s name is only part of its adoption…the reason it dominates TV is because it can shoot straight to ProRes which makes many people’s live way easier in a world of short turn around times. In features films, it’s a different story, and Red holds its own, especially with 3d. And no, you can’t disregard 3d since that’s an advantage comparable to Alexa’s ProRes for TV. You can’t say “of course they shot Red because it was 3d” unless you also say “of course they shot Alexa because it was for TV”.

          • @Dixter good points, you made alot of true and valid points, in fact i never said ARRI was not a good camera, i was actually responding to an above response about arri being used in industry, i simply stated that ARRI could have like many companies gave or lending cameras as a marketing tool, to cement its name in the digital era. Also again i think arri’s camera and workflow is amazing, never said it was not, i just simply stated that the price is too and that they changed their form factor for mobility , also they will too eventually they will come out with a camera at a lower price its inevitable.

  • This is great news. I teach a couple Video Production classes and mention the RED and their competitors to the students. One of the questions I have been getting is why get a RED compared to a Blackmagic. At a poor college student, indie film budget, RED has become more of a competitor.

    • Just my opinion, but at an indie budget I would stick with the BMCC. RED Still requires a lot of extra costs to get up and running – lens – battery – EVF etc. Black Magic just needs a lens. On a limited budget I don’t think you can beat the Black Magic.

    • Scarlet is still at $16K to be usable.

      BMCC is $3K, $5K with battery and memory additions….that’s not even in the same ballpark, especially for students.

      The EPIC was a great price drop, but I was hoping the Scarlet would have dipped a bit more. $10K for the basic kit (LCD, SSD, Battery) would have been a real game changer!

  • This is great! Prices keep dropping and quality keeps going up. This helps everyone, but definitely keeps it competitive. Our austin video production company will likely purchase a RED soon because of this drop.

  • ok Sony…how about that pricing now? I’m flying half way around the world on Sunday, would love to know before I leave…

  • Jacobs Ladder on 11.2.12 @ 1:33PM

    Looking at this from a long term perspective, around this this time next year I should be able to buy a DSLR sized camera with at least 13 stops of DR, 60fps, RAW, with a hacked gh2 level of detail for about $5000 max. “C’mon 5D Mark III lets continue to make money over this next year that I’ll use to drop your ass with later”

    • marklondon on 11.2.12 @ 1:56PM

      This time 2014 sure. Not next year.

      • Jacobs Ladder on 11.2.12 @ 2:17PM

        Why not? We’re already 3/4 of the way there with a BMCC now?

        • Exactly. I wouldn’t be surprised if Blackmagic has a 4K BMCC follow-up in the wings. I could see the price point be maybe $4,999, with 30fps for 4K, 60fps for 2.5k, 120fps for 1080p, etc. Perhaps an APS-C sized sensor.

          That would basically put an end to RED’s dominance in 4K/5K territory.

          • easy to say hard to make.

          • Same thing people said before the BMCC was announced, too. I don’t see any reason why they can’t pull it off in the next year or two.

            Hell, even GoPro found a way to stick 4K at 15fps in a $399 camera that fits in the palm of your hand. Obviously a different universe of sensor size…but still. Even that concept would have been unthinkable as recently as a year ago.

  • marklondon on 11.2.12 @ 2:28PM

    Is this your busiest thread this year?

  • Really tempted to cancel the BT scarlet that I bought the other week and jump on the Red One, but honestly the PL mount scares me. All of my canon glass goes to waste, and I’d be back to needing to rent out lenses every time I wanted to shoot. That and the lack of upgrade path. Think I’m going to have to stick with scarlet in the end.

    • I was literally on the site buying a One when I remembered the mount! I have over $10K in Canon glass and I couldn’t find an EOS mount for the One on their site anywhere. by the next day they CF version was sold out.

      I would cancel my BMCC preorder for a BT One with CF or SSD at $4K, if it had an EOS mount.

    • No Don’t the Red one takes 1 1/2 minute to boot don’t do it the scarlets alot nicer

  • What is the minimum price the red one mx is going to cost me to get it functioning?

    • Someone else had the same question on page 1 or 2 of these comments. It was answered well. Check back through.

  • This is not a good thing.

    This creates a downward pressure on wages and rentals in an industry that’s already seeing a deflation crisis in rates and a devaluation of skill sets and equipment.

    My first thought in seeing the prices was, okay well now you have to have a RED to compete and there’s going to be a LOT more competition which means a lot of people out there undercutting each other.

  • The prices are still a little bit too much for me to just flat out buy right now based on the additional things I would need to buy to make them fully work (if I owned some PL glass already, that would be a much different story). My main question now is what will be Sony’s response for pricing the new Fs, and whether the rest of the companies will make some price drops.

  • If you are a working professional, owner/operator especially, buying a Red camera is foolish.
    In fact, buying any camera that costs more than something you are comfortable paying in cash is foolish.
    I’ve been with Red from the beginning. Never again.

    If you are shooting for fun and have money to burn, go for it.

    • So why is that? Why so negative?

      • I have never own a piece of tech that devaluated this fast. Everything you buy from Red is worthless the next day, it needs an upgrade or is unusable. This includes lenses Some stuff you can’t give away for free. They were selling Red One for $25000 a week ago, today they are $4000. They are sure great cameras but I have no intention to keep throwing my money away, I’d rather rent cameras that suit the project and keep a cheaper camera around the house for personal stuff.
        Additionally, the company’s arrogant attitude as well as infantile user base is nothing I want to be a part of.
        This is coming from someone who’s been firmly in the Red camp for four years now.

        Be prepared for an internet avalanche of “check out my Epic rig”, “quick and dirty test” that doesn’t test anything and an onslaught of other unwatchable crap shot on a camera they shot the Hobbit on.

        • Worthless the next day? Are you high?

          The RED ONE is a 5 year old camera. You’re honestly going to tell me that all the people who bought one 3 or 4 years ago (or even 1 or 2) should feel bad about an inevitable price drop? I guarantee you that even if they’re halfway decent, they’ve made many returns on their investment.

          • No I’m not high. Are you stupid?
            I’m $120k deep in the Red platform. I was probably high when I though that I would have a couple of years before the prices get slashed by 45%. My Epic is 7 months old and my rates as a shooter/owner will go down, there will be an influx of rate undercutting goons running around with shiny new Epics that mommy and daddy bought them and they suddenly became DPs.
            Every electronic accessory that Red sells is worthless within couple of months, some are worthless before they get out (quad battery module anyone?).
            The charged $5000 for R1 M to MX sensor upgrade, today they are selling that same MX chip for $4000, wrapped in a R1 and an SSD module. What a fucking rip off.
            People paid $42000 for their Mono Epics weeks ago, $20k down the drain. I can go on but what’s the point.
            Buyers beware.
            I paid off my investment but I have no intention to keep supporting Red’s R&D while being told “obsolescence obsolete” lies.

          • And by the way, Red One was sold by Red until yesterday for $25000 in spite of being a 4 year old camera.
            Now it’s $4000. Poor suckers who gave Red money.

          • When computers and software compilers became cheap enough for everyone to be a programmer, the best programmers in the world suffered from the onslaught of kids pretending to be a programmer so much that I saw all of them on soup kitchen lines a few months later.


        • Stay bitter, friendo

        • It’s how the world works. It was always like this. Companies milk things till the last moment. Thats the reason theyre companies, they want to profit. Honestly, the only one you can blame is yourself. And the whole thing about ‘kiddies running around with red’s that their mom bought’ is a laughable thought. Anyone who’s against other people getting into the business, is only afraid because he’ll lose profit.

          Of course, when someone who sucks, and outs you on a job, its irritating. But I highly doubt that credible businesses would hire people with no professional track record. So all in all youre just being a paranoid, who had a pretty decent life ( you were able to pay $120k off for red stuff as you’ve said) and now youre just angry that maybe more people will get the chance to step inside the industry.

          Imho, if youre any good, you dont need to drop any of your prices because a camera company did the same, your portfolio should speak for itself. But if you think otherwise, feel free to correct me.

  • Agni Ortiz on 11.2.12 @ 4:51PM

    Interestingly, Canon’s MAP Pricing Goes Into Full Effect Today. This is from canonrumors website: Canon is starting the enforcement of their MAP (Minimum Advertised Price) pricing rules today. Some camera bodies and lenses will see an immediate increase in their base price.
    For example Canon EOS 5D Mark III w/ EF 24-105mm f/4 L IS $4299.00 from $3949.00 and so other models as well.

    • I’ve defended Canon forever but jesus sometimes I think those guys aren’t aware they have competitors.

  • I would have thought Red would have waited until Sony officially released their prices on their new cameras so they were a bit more locked in, maybe this doesn’t change anything but Sony could drop their prices a bit now and no one would know.

  • how long will stocks of RED Ones last does everyone think?

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