Have you thought about getting a RED Cinema Camera? Sure, they're pretty amazing tools, but do you really need one? Cooper over at Cooper films gives you some questions to ask and some good advice to consider before taking the plunge.
It was thoughtful of Mr. Cooper to share his ideas with us.
The cuts in this footage seemed rather.....rough, no? Did he do the editing himself?
Lighting, framing and other artistic elements of video are fascinating, but they apply no matter what camera is being used. It would great if he did another video that only dealt with the technical advantages of these pricey, powerful devices.
What a load of pointless BS. He could have made it a lot shorter by saying only: "Hi there guys. If you don't know what a RED is, or you're not as talented as I am, don't buy one. Bye."
Most people do quite fine with their phones. No need for any dedicated photographic or video device, period. Near-zero incremental costs or nuisance for set-up, portage, obtrusiveness, or sharing. It just takes some (ugh) effort to acquire taste for video shot in 9x16 or "portrait" aspect.
Cooper is correct that a T2i, or an equivalent, can obtain excellent results in proper hands.
A RED (or any other "pro" camera) is an "amazing tool" only in the context of professional crews with advanced skills, infrastructure, post production, commercial budget, and content. And part of the amazement owes to efficiencies relative to the still-vaster requirements for analog film Super Panavision productions. And all is for naught without good audio.
If you run a busy production house, it makes sense to buy RED. Anyone can place an order for one, putting it into use as it was designed, to get the most out of its capabilities, that requires demand for what it does, and a massive amount of support in the field, on the set, and in post. Anyone can buy a backhoe(they cost about 1/2 what a RED system does), but if you are just planting some roses in the front yard, to digging the occasional swimming pool, its way overkill to own one.
Does not explain what it is about Red that other cameras cannot do. The advice here applies to whether or not you should buy any camera or even if you should be into cinema at all.
@Indohydra, no explanation is needed since the subject matter isn't about comparing RED to other equipment. The subject is whether or to buy RED based on the shooter's ability and whether or not the ROI makes sense. I suppose Cooper figures that people who need to ferret out the benefits of RED over other equipment can do their own research or debate it ad nauseam in an amateur forum somewhere.
His advice has nothing to do with buying other cameras and or whether someone should be in cinema, because he didn't address either of those things. He specifically recommended thinking about whether RED fits you based on your level of experience and or the quality and capability demands of your clients... and whether or not it makes financial sense (ROI) to consider buying a RED.
That's all he said, and he did a great job saying it ... even though to most professionals it's common sense.
I think the purpose of this video was simply to slow down people who want to buy this particular brand simply because of the brand recognition. The advice applies to anyone looking to move up to a next level camera, film or still.
I really want the new Sony as I have been looking to move into full frame as an enthusiast. Photography earns no money for me. It is a form of therapy in my case. The thing is can I justify the purchase. I am not locked into a bunch of lenses from any company and I am pleased currently and think I have the fundamentals down at this time. Now it's just the question of is the want justified.
@EdnaBambrick... because I don't think that's his job. Presenting a full array of RED "alternatives" is the job of professional video equipment review bloggers and associated fora. One person's "affordable" isn't affordable to the next person, etc., he made that perfectly clear when he spelled out that he can't tell you what's best for you, what's affordable for you, or what makes most sense for your particular jobs... because he knows nothing about you or anyone else.
Same goes for the question "What camera (or lens) should I buy?" ... how the heck are we supposed to know without many details outlining what you (not you personally) shoot, where you shoot, why you shoot, the end product (web, print, video stills), etc.. I'm supposing Cooper's smart enough to leave all that kind stuff for the video forums where it belongs. :)
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