China rips RED facists.

I enjoy you both.:yes:

hihi

Anyway, I've been a sheep for RED for too long now, with no result. They're just giving us a lil bit of update.
Rubbish... I totally agree with brianluce :lol:

Edit: I don't think they deserve a mention here, It's the Independent Film Forum after all...
 
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Here, this should say it all: In our shop there is a Bobst from the early '60s still in production. That press is 50 years old and still running strong. Our Brausse is less than a year old and we have constant problems. And it can't be attributed to "beak in" either because I've been on new installations for Bobst and others, and have never seen problems like this.

IMO they just put out an inferior product, unless someone is licensing to them and controling the QC.

Ka-POW!!! ;)

There's the crux of the matter.
 

Nate North

Business Member
indieBIZ
hihi

Anyway, I've been a sheep for RED for too long now, with no result. They're just giving us a lil bit of update.
Rubbish... I totally agree with brianluce :lol:

Edit: I don't think they deserve a mention here, It's the Independent Film Forum after all...

I respectfully disagree. Red may have issues, but realistically they have done more to put a true cinema camera in the hands of indie filmmakers than anyone else, ever.

Indie film can mean many things to many people. I think it is often misinterpreted as $0 or microbudget, but this is incorrect. Indie films go up to 10 million, so I'd say the cheapest cine camera in history definitely applies to some in the range between $0 and 10 mil.

There's really only 2 true movie cameras in the indie price range, the Red and the Alexa. Alexa full built will run you up to 120k, so I think red is the single most applicable camera for indie film discussion. I would say the 5d is the most applicable to microbudget.
 
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There's really only 2 true movie cameras in the indie price range, the Red and the Alexa. Alexa full built will run you up to 120k, so I think red is the single most applicable camera for indie film discussion. I would say the 5d is the most applicable to microbudget.

I'd put the Sony F3 in there, it's super 35 and can shoot uncompressed. A good package would cost you about 20 grand or so. Ikonoshop has a good camera out supposedly but I haven't read any reviews. And don't forget our 16mm! So neglected. So beautiful. They deserve love.
 
hihi

Anyway, I've been a sheep for RED for too long now, with no result. They're just giving us a lil bit of update.
Rubbish... I totally agree with brianluce :lol:

Edit: I don't think they deserve a mention here, It's the Independent Film Forum after all...

And RED totally hosed all their long term indie loyalists -- the guys who got early versions of R1 which was an absolute, not ready for prime time, Beta piece of junk. Later version of the R1 are awesome but the early adapters who first supported RED really struggled with them. And they stayed with RED and built the brand. Now with the Glamorous Epic out there, and RED more established, a lot of those loyalists got totally blown off by RED as Jannard coddled major players. Back of the line little people! RED showed it's REAL color, and it's green. F RED.
 

Nate North

Business Member
indieBIZ
I'd put the Sony F3 in there, it's super 35 and can shoot uncompressed. A good package would cost you about 20 grand or so. Ikonoshop has a good camera out supposedly but I haven't read any reviews. And don't forget our 16mm! So neglected. So beautiful. They deserve love.

F3 with the S-log adapter is ready for broadcast TV, but not for film I think. It's a great camera, no question, but I don't think You'll see Speilberg using it. The other two mentioned, you might. Spike Lee bought one. But then what does that even mean?

I'd say the F3 is the best camera out there for microbudget, with the 5d a second option for those without 20k.
 
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Nate North

Business Member
indieBIZ
And RED totally hosed all their long term indie loyalists -- the guys who got early versions of R1 which was an absolute, not ready for prime time, Beta piece of junk. Later version of the R1 are awesome but the early adapters who first supported RED really struggled with them. And they stayed with RED and built the brand. Now with the Glamorous Epic out there, and RED more established, a lot of those loyalists got totally blown off by RED as Jannard coddled major players. Back of the line little people! RED showed it's REAL color, and it's green. F RED.

Yeah, they did do that, sadly, this is accurate. It's all relative though. How many people with 2 billion dollars even think about the predicament of lower income people. At least red made this level available to us, even if they were years late, and a bit snooty about it. Also I agree about the original red one. It was no good. Things started to change around the time of the MX. With the epic, we see a product at maturity. Say what you will about their customer relations and policies, but you have to admit these guys can build a camera.
 

Nate North

Business Member
indieBIZ
Isn't Speilberg a film die hard? I thought the doesn't get near electronic cameras.

I think that's correct, I was just using a household name example of a hollywood director.

James Cameron, Peter Jackson, and Steven Soderberg, are all using epics already.

Just to further confuse things, especially for those constantly saying that a 1k camera today is the equivalent to movie camera in 1990, I should mention that the epic, (still not officially released) is the first camera ever to equivalate the results of a standard 1978 movie camera. Those cameras always shot 4k with 4:4:4. Movie cameras have always been in the stratosphere compared to prosumer, and you'd have to go back 40 years to start comparing HDR-1's to movie cameras used in the cinema, maybe 60. Remember, film doesn't use compression.
 
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