November 28, 2013

RED Opening NYC Store, Online Orders Can Be Picked Up in Person Starting December 2nd

RED might have started in California, but they have been slowly expanding their presence around the globe. This is especially important as more and more new users are getting into their ecosystem (with deals like the $4,000 Battle-tested RED ONE MX). Now it looks like RED is finally opening up shop in the other filmmaking center of the country, New York City. Even though it won't be ready until sometime next year, you'll be able to order online and pick up in person at their temporary location starting next week. Click through for more details.

Here is Jarred Land on REDUser:

Well happy thanksgiving to everyone, but to our New York Friends we are especially happy to introduce Will Call Pickup for all RED products via our temporary location at 127 Grand street as our mighty NY flagship retail store continues construction nearby. 

Starting Monday, customers in NY can now pick up gear ordered on RED.com or via their BOMB SQUAD rep the very same day (pending inventory) as well as drop off items for RMA. 

Please make sure you let your rep know if you intend to pick up or drop off so they can check stock and ensure one of our NYC reps is around.

127 Grand St.
New York, NY 10013

nycunderground@red.com

There are some major benefits in having stores on both coasts, especially when they are in the biggest markets for production in the country. For example, since RED doesn't work with any resellers, you're buying some items blind unless you've worked with them before. If you're in the Northeast (or even a bit farther away), you'll only be a short drive or short flight from seeing all their products in person. Another big benefit besides getting to buy and pick up in person is that you'll be able to drop off items that have issues. I know I can't be the only one who gets a little nervous shipping anything across the country worth more than a few thousand dollars, so this should remove some of the variables (even if your experience shipping has been great in the past, there's always a chance something can get lost or stolen and you're out a camera or other accessory much longer than you originally thought).

According to Land's hints on the website, RED will probably be opening up more stores around the country, so those in SoCal and NYC won't be the only ones with convenient access to RED service and support.

Link: Happy Thanksgiving New York, RED Will Call is now open -- REDUser

Your Comment

68 Comments

Considering that here in NYC, TV network programming is what rules, along with the Alexa as the driving camera force. Red has a serious battle on their hands. It's usually popular with smaller budgeted projects, but the real money are in the networks and convincing their producers to switch over. Arri has a pretty stable stranglehold on this part of the industry. And, I mean that in the nicest way :-)

November 28, 2013 at 10:18PM, Edited September 4, 11:21AM

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Sleepy Hollow (NC) and Almost Human (Vancouver) both RED shows. There's been a bit of movement away from Alexa based purely on its ubiquity.
But this is really a move serving the ad industry.
Makes a ton of sense.

November 29, 2013 at 12:38AM, Edited September 4, 11:21AM

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marklondon

Are you sure about Almost Human? All the BTS footage I've seen is Alexa. Perhaps they use both.

November 29, 2013 at 9:11AM, Edited September 4, 11:21AM

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Brian

Yep you are correct. The show is actually shot entirely on Alexa.

Source: PA on the show

November 30, 2013 at 10:14PM, Edited September 4, 11:21AM

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Alaivi

sleepy hollow is a tv show…(the movie was shot on film) you can use the 5d miii for a tv show….my friend has a red camera that he bought really cheap because it didn't work…he fixed it and says the camera should cost under 1,000 (the tech is cheap)

November 29, 2013 at 1:26PM, Edited September 4, 11:21AM

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DIO

check out the series BREAKING BAD(film)..and compare it to SLEEPY HOLLOW (video)

November 29, 2013 at 1:55PM, Edited September 4, 11:21AM

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DIO

agree New York is Arri town (studio, lt, alexa….)

November 29, 2013 at 7:49AM, Edited September 4, 11:21AM

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DIO

Actually there are probably more sony f35's / genesis after alexas.

The biggest problems with RED cameras were the fact of media and fan issues. Red cameras media storage for 4k was limited to short takes.

Alexa on the other hand allows beautiful 444 1080p which is more than enough for tv paired with media storage setups that can shoot for hours compared to reds limited times.

November 30, 2013 at 12:45AM, Edited September 4, 11:21AM

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JAYE

"The biggest problems with RED cameras were the fact of media and fan issues. Red cameras media storage for 4k was limited to short takes."

What year is it?!

December 1, 2013 at 11:08PM, Edited September 4, 11:21AM

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btown

F**k Yeah!

November 28, 2013 at 10:36PM, Edited September 4, 11:21AM

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edgar

Now we can go drool in person.

November 28, 2013 at 11:29PM, Edited September 4, 11:21AM

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Anthony Marino

alexa is winning and it is better.

November 29, 2013 at 12:48AM, Edited September 4, 11:21AM

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filmkr

Yea, but I think my chunk is bigger then yours...

November 29, 2013 at 1:25AM, Edited September 4, 11:21AM

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Dude

Yes with EPIC but no with DRAGON .

November 29, 2013 at 6:15AM, Edited September 4, 11:21AM

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alessio

Great... now just open a store down under :-)

November 29, 2013 at 6:21AM, Edited September 4, 11:21AM

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would be great if they would leave the store entrance that way. but i guess they want it to look magnificent and mighty.

November 29, 2013 at 8:35AM, Edited September 4, 11:21AM

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Alfred

Really who cares anymore. The RED is over. I have never seen one used on a major production . The Alexa is the only camera alongside film cameras that are still used when one wants a guaranteed workflow and quality look. When the Alexa 4k+ is released the current model will be rentable for cheap and the RED is done and gone.

November 29, 2013 at 8:55AM, Edited September 4, 11:21AM

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Mic

"I have never seen one used on a major production."

Thanks. This made me chuckle.

November 29, 2013 at 9:09AM, Edited September 4, 11:21AM

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Brian

Um, does The Hobbit not count as a major production? I mean sure, the trilogy only had a $560 million budget, but come on.

November 29, 2013 at 11:00AM, Edited September 4, 11:21AM

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Jake

hahahaha never been used on a major production.

Spiderman? Thor? Transformers? Those are you know small productions

November 29, 2013 at 12:40PM, Edited September 4, 11:21AM

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chris

THOR was shot on Arri Alexa plus …Panavision…..(5dm2….and some high speed shots on red epic)

SPIDERMAN was on FILM ARRI CAMERAS…

wake up!

November 29, 2013 at 1:12PM, Edited September 4, 11:21AM

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DIO

The Amazing Spiderman was shot on Epic. I think it was pretty obvious he wasn't talking about the first three Sam Raimi incarnations.

November 29, 2013 at 1:29PM, Edited September 4, 11:21AM

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Brian

just look it up SPIDERMAN was shot on FILM….WAKE UP!

November 29, 2013 at 1:52PM, Edited September 4, 11:21AM

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DIO

THE LAST SPIDERMAN WAS SHOT ON FILM...

November 29, 2013 at 1:53PM, Edited September 4, 11:21AM

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DIO

DIO, here you go: http://imdb.to/1jRQYw4

Are you calling "The Amazing Spider-man 2" the last Spiderman film? If so, I clearly stated "The Amazing Spider-man". I love when people scream for you to look something up they obviously haven't looked up themselves. You guys are cracking me up today.

November 29, 2013 at 2:11PM, Edited September 4, 11:21AM

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Brian

i think we're mixing movies here…but you're right …the last spiderman was shot on red…good for them…don't let this get you excited and go buy one…that's my point…who cares what the camera is….that's not how you get employed in Los Angeles…nobody cares what the cameras is or if you own a camera…you have to work on crews and get contacts ….good luck...

November 29, 2013 at 2:59PM, Edited September 4, 11:21AM

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DIO

TRANSFORMERS 4 is being shot on FILM with PANAVISION ….(red for high speed and when shit blows up)

November 29, 2013 at 1:16PM, Edited September 4, 11:21AM

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DIO

"In that particular shot they are Epics on a TS5 3ality rig (dolly in foreground and steadicam in background). We have 3 TS5 rigs with Epics for 3D, Epics and Dragons for 2D work, Digital IMAX 3D, film, Canon, GoPro and shoot all of them regularly. Epic and Dragon are the main formats, with the other cameras / formats supplementing for sequences requiring multiple cameras. Company 3 is doing the dailies and color work and are doing a great job at keeping up with all the different formats and how crazy it all is. Pretty awesome stuff!"

November 29, 2013 at 1:29PM, Edited September 4, 11:21AM

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epic

WHO ARE YOU? are you saying you're working on a film ???

November 29, 2013 at 1:54PM, Edited September 4, 11:21AM

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DIO

That's a quote from Zach Hilton, who served as DIT on the upcoming Transformers movie. Here's the original quote - http://bit.ly/Ix1Fcb - if you're interested.

November 29, 2013 at 2:03PM, Edited September 4, 11:21AM

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Brian

THOR was shot on ARRI ALEXA PLUS…AND PANAVISION for PRINCIPLE PHOTOGRAPHY…
The 5D2 was used on 2nd unit
red epic was used on SOME SHOTS… it's on the internet IMDB

November 29, 2013 at 2:14PM, Edited September 4, 11:21AM

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DIO

TRANSFORMERS what shot on (in order of use)
PANAVISION PANAFLEX MILLENIUM (for most of principle photography) do you want Bay to email you
PHANTOM 65 GOLD
RED EPIC dragon

November 29, 2013 at 2:27PM, Edited September 4, 11:21AM

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DIO

Elysium looks faultless on RED.

December 2, 2013 at 11:50AM, Edited September 4, 11:21AM

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Greg egan

The Hobbit took free cameras ….why not…they own a post house and they needed it with that footage…red dragon=enhanced video look...

November 29, 2013 at 11:53AM, Edited September 4, 11:21AM

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DIO

Hobbit looked like shit as did Thor 2. Sorry folks. its not all about the Ks. DIgital often looks too clinical and emotionless. If you want to see digital done right check out Dallas Buyers Club.

November 30, 2013 at 10:10AM, Edited September 4, 11:21AM

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TIm

Certainly agree about the Hobbit. Looked terrible in so many scenes.

November 30, 2013 at 10:25AM, Edited September 4, 11:21AM

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Dheep'

Okay i miswrote a generalization. A major production with a dp that actually gives sh*t.. Yeah I'm waiting for the slams for that one too. Hobbit was an embarrassment only digging reds grave. I worked on the upcoming spiderman and it was shot on film so I guess it didn't work out for Red there.. Shoot on red once never go back to Red., thats eels to be the story. Forget Peter Jackson he's lost whatever little talent he had.

November 29, 2013 at 1:07PM, Edited September 4, 11:21AM

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Mic

Without a doubt, RED had their asses handed to them in certain respects by the Alexa. So did Sony. Ultimately, however, the very near future will prove RED right in its philosophy. The MX sensor, for all its shortcomings, especially compared to newer sensors from Arri and Sony, continues to be one of the best large format digital cinema sensors on the market.

It's still early and the new color science isn't done but Dragon is already showing an improvement over MX in all the areas in which MX was (again, by comparison) weak - namely color and dynamic range. Those two things combined with lower noise and lower rental/purchase cost will make Dragon a harder prospect to dismiss if the image quality is perceived to be equal to or better than whatever Arri and Sony have to offer by those DPs you think actually do give a shit..

November 29, 2013 at 1:56PM, Edited September 4, 11:21AM

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Brian

DO YOU WORK FOR RED? STOP SELLING CAMERAS TO PEOPLE WHO DON'T KNOW HOW TO USE THEM AND JUST WANT TO GET INTO THE MOVIE BUSINESS…BECAUSE THAT'S NOT HOW YOU GET IN THE MOVIE BUSINESS…YOU ARE MAKING PEOPLE POORER

November 29, 2013 at 2:17PM, Edited September 4, 11:21AM

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DIO

DIO, are you crying right now? I'm afraid you're going to hurt yourself.

No, I don't work for RED. I also don't have an obvious vendetta against them (or any company) like you seem to. On occasion, I try to correct inaccuracies about RED simply because I know better. I mostly speak in pretty broad terms, though. What you're proposing RED sell to their customers are things you can't buy - self control and common sense.

I think the trap you and a lot of other NFS readers may fall into is conflating indie filmmaker with low/no budget. They are not necessarily the same thing. Independent films can cost into the millions of dollars.

Let me give you some tips:

1) If you can't afford to buy it, DON"T BUY IT.
2) If you can't afford to buy it, RENT IT.
3) If you can't afford to rent it, RENT, BUY OR BORROW SOMETHING DIFFERENT.

November 29, 2013 at 2:50PM, Edited September 4, 11:21AM

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Brian

and by the way…I though you were talking about TRANSFORMERS….because your post is under my post about transformers

November 29, 2013 at 3:01PM, Edited September 4, 11:21AM

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DIO

i agree with you…and I don't care about red cameras or any other camera…but this red camera company seems to get people to buy it when they have no reason and no money to buy one….if you look at the opening posts where they are talking about films shot on red(which most of them weren't)?? (this gets new filmmakers in a frenzy…where they think they have to buy this camera ) nobody in LOS ANGELES cares if you own a camera..(and as I said before the tech is super cheap..it's the marketing that expensive)…and again if you look at your post about the d.i.t….it was after my post about TRANSFORMERS…which was shot on PANAVISION MILLENIUM…(i've been around this camera and it's FANTASTIC!)
Good luck…

November 29, 2013 at 3:18PM, Edited September 4, 11:21AM

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DIO

I was talking about both movies with links to each of my points where appropriate (I think). At any rate, Chris' point was not that these movies were shot entirely on RED, just that they were employed to some degree on major productions (Thor being one of them), which Mic so hilariously asserted they weren't before he/she tried to clarify.

November 29, 2013 at 3:21PM, Edited September 4, 11:21AM

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Brian

You asked epic about the Transformers 4 quote and I gave you a link to where you could find it. Zach Hilton actually worked on the film so he should be in a fairly good position to know how the footage was captured. It doesn't line up with what you claim so I'm curious where you're getting your info from?

November 29, 2013 at 3:29PM, Edited September 4, 11:21AM

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Brian

i'll add one more thing here…borrow whatever camera you can…and if it's a film camera…a couple of short ends…and you have the beginning of a show reel…that will look unique and stunning…(check out a movie called THE SECRET LIFE OF WALTER MITTY..IT'S STUNNING….) our school has some short ends…from that project..

November 29, 2013 at 3:30PM, Edited September 4, 11:21AM

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DIO

4) Buy used with used accessories, use it for 4-6 months and sell before the prices change. More or less amounts to a free 4-6 month rental. I have been doing this for years...

November 29, 2013 at 3:46PM, Edited September 4, 11:21AM

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All the footage I've seen is way too sharp and unforgiving. Is this what you guys consider good cinematography?

November 30, 2013 at 10:11AM, Edited September 4, 11:21AM

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TIm

Agreed -Hobbit looked bad , but in what Universe do you see RED being buried ? Its a fact. Just try & wish it away.

November 30, 2013 at 10:27AM, Edited September 4, 11:21AM

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Dheep'

Forget about the whole technology measuring contest between the two cameras.

In my experience the Alexa is so popular because of...

- DTE simple Prores444 workflow with onboard recording. That right there gave them TV and commercials.
- Truly uncompressed RAW
- VFX is no fan of RED "RAW". The 3:1 wavelet compression really shows up in compositing.
- 14 stops with smooth highlights without any gimmicks
- Arri skin tones and overall color science
- 5k is overkill for most productions and more expensive to deal with. 2.8k Is plenty, especially for TV and commercials.
- simple camera GUI and ergonomics
- idiot proof workflow and color science in post without the need for lots of encoding.
- All the reliability of a hockey puck, no surprised.
- Not in perpetual beta.

And last but not least there is the simple fact that over the years RED has turned off a lot of pros with their immature bluster. JJ's antics are legendary. Many people simply don't want to deal with a bunch of frat boys and be associated with that image. I don't want my gear order to sound like it's for a swat team, instead of a camera rental house. People put up with the shenanigans in the early days, because there wasn't much of a choice in the market, but now there are plenty of options out there and people are voting with their dollars. It's a shame, because they have achieved great things, but chocked on their own bluster.

November 29, 2013 at 1:08PM, Edited September 4, 11:21AM

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Dans

red cameras…6k…8k..10k….should cost under 1,000 (the technology is so cheap)

November 29, 2013 at 1:17PM, Edited September 4, 11:21AM

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DIO

you're posts make no sense to me

November 29, 2013 at 1:38PM, Edited September 4, 11:21AM

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alex

Alex…there is no reason for anyone to buy a camera for thousands of dollars(the tech is cheap)…if you want to work of features ….you work on crews and get to know the DPs…nobody cares if you own a camera

November 29, 2013 at 1:58PM, Edited September 4, 11:21AM

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DIO

tell me exactly what doesn't make sense…??? and I'll explain it to you….I work in Los Angeles and go to school and I'm on sets 70 percent of the time and in post production houses…

November 29, 2013 at 2:00PM, Edited September 4, 11:21AM

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DIO

+1

November 29, 2013 at 2:16PM, Edited September 4, 11:21AM

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"- Truly uncompressed RAW"

Uncompressed anything is pointless because CPU power is less expensive than hard drives...choosing uncompressed over lossless is just dumb. That's why in vfx we usually use OpenEXR with ZIP or PIZ compression as an intermediate.

"- VFX is no fan of RED “RAW”. The 3:1 wavelet compression really shows up in compositing."

This doesn't make sense, what shows up exactly? Wavelet compression tends to just soften footage, which doesn't cause any problems for vfx...macroblocking from DCT compression on the other hand can. Also 3:1 compression on the Red is effectively lossless because of the amount of detail removed by the OLPF...the extra data compared with 5:1 is pretty much just more precise noise which is useful for targeting noise and retaining real detail.

"- 14 stops with smooth highlights without any gimmicks"

Are you talking about the Red or Alexa here? The Alexa's the one that uses a filter to enhance its dynamic range...

November 29, 2013 at 7:16PM, Edited September 4, 11:21AM

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Gabe

All this "RED rant" seems a little off... Ok,in LA no one cares, but in the rest of the world RED is considered an awesome camera, a professional piece of gear that delivers as much as the Alexa.
RED footage is not good for VFX? lol

I wonder how I could manage to comp almost 50 nodes in nuke keying the 5K plates without any problems. Any... just a breeze. And after all send it right away to the colorist... Lots and lots of big ads from cars to shoes, all shot on RED... A lot in Alexas, ok right, great camera.
But Red is not the crap people are painting here... And those comps on the Hobbit are great!

November 29, 2013 at 9:06PM, Edited September 4, 11:21AM

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Alex Mand

Choosing uncompressed over compressed 3:1 is only dumb if your show doesn't demand the highest level of IQ. Uncompressed is not for every show, but it sure is nice to actually have the option.

EXR is used ion VFX, because the workflow is mostly linear and exr supports things like multiple channels etc. But most facilities and certainly the high end ones, also keep the virgin DPX online for keying.

The wavelet compressions shows up as grain when you key. It is noticeable when you or your VFX is demanding that you retain every hair of peach fuzz on the profile of the actor. It is also noticeable when you do serious color correction, especially an isolated color correct, like with the Huecorrect node in Nuke or when doing spill suppression. The files just aren't as malleable and when you start to really mess with the plate you can feel and see the wavelet compression in Nuke. It feels like hard edged grain or sand, kind of like a less compressed flavor of Prores444.

!4 stops refers to the Alexa. There is no special filter in the Alexa to enhance the dynamic range. Instead they do a simultaneous bracketed grain read on each receptor well. Essentially a HDR exposure for each single frame and then combine the two on the fly. My guess is that they actually capture ore than 14 stops and then sample down to 14. This could explain why the rolloff is so smooth in the highlights.

November 29, 2013 at 9:20PM, Edited September 4, 11:21AM

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Dans

"Choosing uncompressed over compressed 3:1 is only dumb if your show doesn’t demand the highest level of IQ. Uncompressed is not for every show, but it sure is nice to actually have the option."

3:1 is essentially lossless because of the OLPF...tests have shown that there isn't enough detail for the compression to ever even hit 3:1. which means it's not throwing away any information. Choosing uncompressed over lossless compression isn't gaining you any quality (that's what lossless means), it's just a space vs CPU power trade-off

"EXR is used ion VFX, because the workflow is mostly linear and exr supports things like multiple channels etc. But most facilities and certainly the high end ones, also keep the virgin DPX online for keying."

There's no difference in quality between a 16-bit EXR and a 16-bit DPX...but DPX is an ancient format that's only uncompressed, whereas EXR supports compression...why would you ever choose uncompressed over ZIP? I don't understand where you're coming from here. I don't know of anyone that uses EXR and then keeps DPXs around for specific tasks. That makes absolutely no sense.

"The wavelet compressions shows up as grain when you key. It is noticeable when you or your VFX is demanding that you retain every hair of peach fuzz on the profile of the actor. It is also noticeable when you do serious color correction, especially an isolated color correct, like with the Huecorrect node in Nuke or when doing spill suppression. The files just aren’t as malleable and when you start to really mess with the plate you can feel and see the wavelet compression in Nuke. It feels like hard edged grain or sand, kind of like a less compressed flavor of Prores444."

No you have it backwards, wavelet compression softens grain...which (like I already said) is important when there's a lot of grain and you want to selectively remove it and retain detail. It is not like ProRes...ProRes is a DCT compression, and its artifacts show up as macroblocking.

"!4 stops refers to the Alexa. There is no special filter in the Alexa to enhance the dynamic range. Instead they do a simultaneous bracketed grain read on each receptor well. Essentially a HDR exposure for each single frame and then combine the two on the fly. My guess is that they actually capture ore than 14 stops and then sample down to 14. This could explain why the rolloff is so smooth in the highlights."

Yes the Alexa uses a lowcon filter, it's clearly visible in tests as a halo around bright light sources. No it doesn't have more than 14 stops...there's a reason log gamma exists, and that is to retain all of the dynamic range before it is clipped/rolled off into another color space and gamma.

November 30, 2013 at 12:00AM, Edited September 4, 11:21AM

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Gabe

Great observations become Gabe,
the filter Lowcow exists and everyone knows on Alexa and be the reason why it performs well rolloff.
I would add to the TV spot the reference point be XDCAM MXF, many televisions are in the hands of Sony broadcast. So however you have to traformare R3d or ProRess in this support ..
Best Arri?, Or better RED?
For me Raw R3D for more margin.
If I had to choose now would take a RED, indeed a beautiful Carbon Dragon.
But each has his own ideas and needs.

November 30, 2013 at 4:54AM, Edited September 4, 11:21AM

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Alexiss

This is to connect with all the rental houses on the East Coast, who will now be within driving distance from a physical store/tech support. This is a good move for them. I still think they'll struggle financially in the long term once 4K becomes more ubiquitous and the mass manufacturers enter the fray. Red makes huge margins on their products, especially on the accessories, and they will either have to offer far more competitive packages or watch people grab an off-the-shelf Panasonic with a C-Fast 2.0 card and deliver gorgeous footage with a minimal work flow. Either way, they are kind of screwed.

November 29, 2013 at 9:05PM, Edited September 4, 11:21AM

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DLD

awesome im loving the new dragon!

November 29, 2013 at 9:45PM, Edited September 4, 11:21AM

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Sebastian Roland

DLD, we've kind of touched on this before and I'm still confused by your comment. You characterize RED as if they lucked up by stumbling backwards into the whole 4K thing, which gives them an advantage only until 4K becomes ubiquitous, at which time they'll wither away because of increased, lower cost competition. In actuality, RED had to jump up and down and did a fair amount of blustering (as someone else put it) to get people on board with 4K, let alone at a more affordable price. I find it hard to believe they (or any company) wouldn't have planned for this day after having done so much to try to bring it about.

How would everyone adopting 4K be any different for RED than everyone adopting HD was for Arri? The Alexa was in very little danger of not being used by those productions that could afford it because there was a C100 available. I could be wrong but I don't see the off-the-shelf 4K Panasonic with the C-Fast 2.0 card you mention competing as an A cam very often with whatever 4K+ camera Arri comes out with or an Epic Dragon. It'll be viewed as a prosumer camera and, as such, probably won't be used in place of higher end cameras any more than any other prosumer camera has.

I think people mistakenly still view RED as the 3K for $3K company. They abandoned that idea for whatever reason one would like to believe. Their target markets, as far as I can tell, are (not counting rental houses) lowish-mid to high level owner/operators and facilities/production companies who do enough business to justify the cost of buying, indie filmmakers with a decent budget and major film and TV productions. RED does not make cameras with people who balk at a $3K wireless follow focus system in mind. Neither does Arri. The low-cost Panasonic simply will not have the refinement in image quality or features that people who fall into these groups are generally drawn to or require….unless these buying/renting habits are changing.

RED accessories are on the expensive side but so are Arri's, and the Alexa costs three times as much as an Epic Dragon. 2014 will (hopefully) see SDK implementation for GPU accelerated .r3d debayer for all third party software that already supports the format natively. They'll also offer the ProRes proxy module in addition to simultaneous RAW recording. The only real workflow disadvantage RED has is the files are big compared to HD. Once everyone makes the jump to 4K, that disappears. RED's file sizes will be considerably smaller than anyone doing uncompressed 4K. I just don't see how they'll be screwed, if not a bit better off.

November 30, 2013 at 8:17AM, Edited September 4, 11:21AM

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Brian

There will not be any ProRes module for Red next year. This is the official stance for the matter from Red. At least at the moment.

I would not be surprised if there were some kind patent issue (or several). Fact is that Jimbo and boys tried to bully Sony with patent lawsuit, result was quick agreement after Sony brought the big guns out. After all, they have one of the biggest patent portfolios in the business....

November 30, 2013 at 12:40PM, Edited September 4, 11:21AM

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Juhan-i

Can you link to the info on the ProRes module? I know Jarred said the new Minimag won't do ProRes but I'm not aware of them nixing the proxy module.

November 30, 2013 at 1:29PM, Edited September 4, 11:21AM

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Brian

I should've specified the Minimag Side SSD won't do ProRes.

November 30, 2013 at 4:41PM, Edited September 4, 11:21AM

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Brian

As much as love the modularity and quality of RED products... I just can't get passed the image. While it's fantastic... for that price I think there's other options that look better.

Something about the skin tones and the way it renders motion is just really "videoy". There's nothing necessarily "bad" about that, just doesn't fit a cinematic vibe very well. Every time I see a film or TV show shot on RED, something about it calls my attention in a slight eye-sore type of way.

The only digital cameras I've seen that can produce a cinematic image comparable to film are the Alexa and F35... and to a minor extent the BMCC actually looks surprisingly good.

November 30, 2013 at 10:27PM, Edited September 4, 11:21AM

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John

December 2, 2013 at 2:07AM, Edited September 4, 11:21AM

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Bob

the digital (video) billion dollar business honors kodak film by it's sincere attempt at imitation…but the best cheapest and fastest image still comes from kodak…this is from a film student and his buddies
with an old cinema camera and a couple rolls of film you can make a short or spec commercial that can be broadcast on any major t.v. station or a movie that can be screened anywhere…and it's much cheaper…for a student all you have to do is use the one light from lab and edit it and your done…(you don't need to take it to a post house like video)…film is good out of the can…(and for the bigger productions film excels in the digital world of effects and dcps) and you have created an image that will last for many years to come…good luck from Dio and his buddies at school …HAPPY HOLIDAYS!!!!

December 2, 2013 at 4:38AM, Edited September 4, 11:21AM

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DIO