Shooting RED Digital

This is a pretty informative piece. How does the workflow compare to a film camera or a smaller P2 camera? Is there a way to avoid losing information when the battery goes low?
The female lead in the sample footage is very attractive. Who is she and how do I get a hold of her? TL

Posted by Tieuel Legacy on Monday, March 24, 2008 @ 11:29 AM

Film DP snobbery never ceases to amaze me. He says it's not a "run and gun" camera and lumps all video shooters into the low end camcorder arena where everyone uses auto iris and auto focus. He completely ignores the majority of professional vidoegraphers who shoot with mid and high end Panasonics and Sony's.
He also looks down his nose at 35mm still lenses. This is all rubbish. RED's strength is that it is truly a camera for everyone from Hollywood DP's to Docunmentary and Corporate video shooters. It can be stripped to a 20lb off the shoulder unit or tarted up for a big budget feature. My sense is these film guys don't like the fact that people outside their select little group finally have (relatively cheap) access to a high end production tool, something that wasn't possible with Panavision and Arriflex. Perhaps fear that the skills they have that they think sets them apart will become more widespread and commonplace as (young) shooters new to 35mm lenses, depth of field, RAW and color grading now have access to a tool where they can learn and use these skills. RED is the perfect name for this camera, it truly is the "people's" camera.

Posted by JoJo on Monday, June 16, 2008 @ 08:29 PM