Are you on Arri's payroll? You keep spreading misinformation about RED. You said that "A Red one camera has essentially the quality of a decent 2K camera." Yet tests show that the RED 4k 16x9 at REDCODE42 yields 3.5K resolution (due to the Bayer pattern inefficiencies) and the 4.5K resolves a true 4.1K measured resolution. A pretty far cry from the 2K you're talking about.
As for RED not attending NAB because of financial difficulties, can we also assume that Apple didn't attend NAB last year because they couldn't afford it either? I doubt you have any real insight into RED's financial situation.
Now I'm not saying RED is perfect or unbeatable, but don't spread misinformation. I shoot RED footage multiple times every week and I'm happy that Arri has a comparable camera coming out. Competition forces innovation and keeps prices lower. Hopefully this will help drive down prices of RED's expensive peripherals.
@jabba359 Does Apple show up at a seedy hotel at the end of the strip to hawk their wares in a hotel ballroom, riding on the coat tails of NAB? Clearly, they want to be there, but blew their marketing load way too early. They have admitted they took a financial bath the last couple years. Read up on it. You can babble on about image data all you want... I don't care what white papers say about the thing, it's terrible in low light, resolves adequately for what it is, but I will take a great 2K camera any day over what amounts to an average 4K camera. They should have left it at 2K and had a great camera instead of pushing its limits. So what you're saying is that I should be working for Arri, not Sony, Silicon Imaging, Panasonic, etc.etc. all who make cameras I can trust infinitely more than a Red camera. Maybe if the red cameras I've used in the past worked the entire time I used them and didn't somehow break down, maybe if the image quality was as good as they claimed, maybe if the marketing department didn't whip fanboys into an unrealistic frenzy and I watched friend after friend buy into it and get taken to the cleaners financially after their investment tanked in value. I could go on, but I am not a fan of the company. They make a pretty decent camera, but it is unrealistically placed in with gear of much higher quality all to often.
@sydcinema "They make a pretty decent camera, but it is unrealistically placed in with gear of much higher quality all to often."
Ah, at least we agree on this! It seems that the $25k RED body ($19k RED One + $6k MX sensor upgrade) is expected to be the exact same quality, durability, and reliability as a $60k Alexa, $116K F950, $118k Phantom HD Gold, or the Panavision Genesis (not for sale, only rental). At it's price point, the RED has no competition. Zero. At twice the price, the Alexa may be worth the extra reliability (though I've never had a RED problem a reboot didn't fix) and greater flexibility in aftermarket accessories and drives. If you're renting instead of buying, then the 2x purchase cost of the Alexa becomes moot, as rental houses foot the purchase price and rental prices shouldn't differ drastically.
As for the sensor in low light, you're talking about the OLD sensor. The new, currently available MX sensor is comparable to the Alexa's not-yet-released sensor in terms of low light capability. Don't believe me? Watch the footage David Fincher shot at ISO 2000. Or read Marc Weigert's side-by-side comparison of the two cameras (who says, "The greenscreen footage of both cameras was very clean and - especially for 800 ASA, had very low grain/noise."). The Alexa comes out slightly ahead in most regards, but not significantly so.
I'm no fanboy of RED, as there are lots of things they could be doing better (I hate the overpriced proprietary drives, cables, etc.). But I think that the camera is good, the Alexa looks to be pretty dang nice as well, and I'm glad there's competition in the lower-priced cinema camera market. Having more players in the game will only make for better products for those of us that are out there shooting.
The Cobra Tag may help you win that losing battle, acting as a Bluetooth device that attaches to your key ring and connects to your phone, it gives you the opportunity to find the missing item if it's less than 30 feet away.
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@sydcinema
Are you on Arri's payroll? You keep spreading misinformation about RED. You said that "A Red one camera has essentially the quality of a decent 2K camera." Yet tests show that the RED 4k 16x9 at REDCODE42 yields 3.5K resolution (due to the Bayer pattern inefficiencies) and the 4.5K resolves a true 4.1K measured resolution. A pretty far cry from the 2K you're talking about.
As for RED not attending NAB because of financial difficulties, can we also assume that Apple didn't attend NAB last year because they couldn't afford it either? I doubt you have any real insight into RED's financial situation.
Now I'm not saying RED is perfect or unbeatable, but don't spread misinformation. I shoot RED footage multiple times every week and I'm happy that Arri has a comparable camera coming out. Competition forces innovation and keeps prices lower. Hopefully this will help drive down prices of RED's expensive peripherals.
@jabba359
Does Apple show up at a seedy hotel at the end of the strip to hawk their wares in a hotel ballroom, riding on the coat tails of NAB? Clearly, they want to be there, but blew their marketing load way too early. They have admitted they took a financial bath the last couple years. Read up on it. You can babble on about image data all you want... I don't care what white papers say about the thing, it's terrible in low light, resolves adequately for what it is, but I will take a great 2K camera any day over what amounts to an average 4K camera. They should have left it at 2K and had a great camera instead of pushing its limits.
So what you're saying is that I should be working for Arri, not Sony, Silicon Imaging, Panasonic, etc.etc. all who make cameras I can trust infinitely more than a Red camera. Maybe if the red cameras I've used in the past worked the entire time I used them and didn't somehow break down, maybe if the image quality was as good as they claimed, maybe if the marketing department didn't whip fanboys into an unrealistic frenzy and I watched friend after friend buy into it and get taken to the cleaners financially after their investment tanked in value. I could go on, but I am not a fan of the company. They make a pretty decent camera, but it is unrealistically placed in with gear of much higher quality all to often.
@sydcinema
"They make a pretty decent camera, but it is unrealistically placed in with gear of much higher quality all to often."
Ah, at least we agree on this! It seems that the $25k RED body ($19k RED One + $6k MX sensor upgrade) is expected to be the exact same quality, durability, and reliability as a $60k Alexa, $116K F950, $118k Phantom HD Gold, or the Panavision Genesis (not for sale, only rental). At it's price point, the RED has no competition. Zero. At twice the price, the Alexa may be worth the extra reliability (though I've never had a RED problem a reboot didn't fix) and greater flexibility in aftermarket accessories and drives. If you're renting instead of buying, then the 2x purchase cost of the Alexa becomes moot, as rental houses foot the purchase price and rental prices shouldn't differ drastically.
As for the sensor in low light, you're talking about the OLD sensor. The new, currently available MX sensor is comparable to the Alexa's not-yet-released sensor in terms of low light capability. Don't believe me? Watch the footage David Fincher shot at ISO 2000. Or read Marc Weigert's side-by-side comparison of the two cameras (who says, "The greenscreen footage of both cameras was very clean and - especially for 800 ASA, had very low grain/noise."). The Alexa comes out slightly ahead in most regards, but not significantly so.
I'm no fanboy of RED, as there are lots of things they could be doing better (I hate the overpriced proprietary drives, cables, etc.). But I think that the camera is good, the Alexa looks to be pretty dang nice as well, and I'm glad there's competition in the lower-priced cinema camera market. Having more players in the game will only make for better products for those of us that are out there shooting.