Heh cheers.
Here's what I think (I'm a reservation folder, btw)
If this is for real, on projects of the scale I've been doing up to now, i.e. small, self funded, or low budet, this thing will be a Godsend. Not for the shoot itself, it really makes little difference to the actual shoot. You still need to light properly, and you still need to employ a focus puller. All that stuff.
BUT, it's all the stuff around the shoot that has potential to become more efficient. No more stock and development costs, no more telecine costs, maybe even no more film out costs. No more chemical baths, and grading, and *hoping* it turns out right the next day. If you have no money, but want to shoot film, that's a LOT of favours you have to choreograph, and a lot of elements you have to hope line up at the right time around filming, and if you can't PAY for it, you can't guarantee it.
On my last short there was one shot I wished I'd had time to get on the shoot, but time limits and all that. Anyway, I had the choice between shooting that shot on greenscreen, on film, with an actor - it would have taken about 2 weeks to arrange, and cost a couple of grand. For one bloody shot. I'd have to pay for stock, camera, lenses, and a whole chain of favours getting these cheap (and running out of favour "credits") and then somehow slot in a telecine session too - just to SEE the damn footage. For one bloody shot.
In the end what I decided to do was: tentatively organize the shoot, but spend the two weeks working on it to see if I can do the shot completely in CG. So the CG shot is what's in the film. And I could afford to pay my rent, AND eat :)
If at that point I'd had a red camera, I could have got the actor that same day, arranged a mobile greenscreen, shot the thing in my back garden, and walked upstairs and plugged the drive into my computer and started editing.
If people can't see the advantage to this they are fu**ing NUTS.
But a lot of the time DP's don't really have to deal with the stuff before and after the shoot, so this really is no advantage to them - they just go from job to job and deal with the shoot at hand. They don't even always stay around for telecine to make sure the thing is graded right - so why should they care if that process is cheaper? it's no better for what they have to do!
I should note how FEW people are good colourists, and I mean skipping telecine, not skipping grading/DI. That's an important skill that contributes greatly to the image - but overnight baths... well. It's important they don't fu** UP. I can live without ever having to deal with some of these processes again.
So yeah, I'm close to sold on red. At the moment, if I was shooting a commercial, I would never use HD for anything involving food, or lighting that has to be... graceful. Maybe red will change this. Look forward to seeing what the exposure lattitude turns out to be like...
I wish you could use anamorphic lenses properly though. It's my major gripe. If I was to shoot a big movie now (indulge me) the cost considerations would be pretty much moot. It would all come down to image quality - even before ease of use. Nobody uses anamorphic lenses because they are the more flexible lenses out there, or because they are fantastic in low light - they use them for the look. So right now, if the choice came down to red vs film, and all other considerations aside, the only difference was shooting scope, I'd be very tempted to shoot scope. I like the look.
Cheers,
R.