Fred Magilicutti

Because we are a VERY small production company, shooting mainly documentaries of wildlife and natural history for television companies like National Geographic, PBS, Discovery Channel, etc., and we are going to have to use our "own" funds to buy a new camera, it now comes down to what we can afford for our purposes. We can wait no longer for the Scarlet, so it is now a decision between the RED-One and the Sony PDW700 Camcorder. Considering taxes, since we live in California, the cost of the RED-One is now more than the Sony (with the exception of a color viewfinder for the camcorder). Considering the 2/3" sensor of the Sony vs. the full frame RED-One, the Sony would suit our needs better because we can use our specialty Super16 lenses, etc., and since we only shoot for television anyway. At this point, the ONLY advantage I can see for the RED-One is that it comes with a color EVF. I would greatly appreciate anyone's input, opinions, advise, and recommendations about the benefits or drawbacks of these two cameras. Thanks. .

I have an interesting thing that is happening when blue-screen compositing in Adobe CS5, and I'd like to know your opinions on it. The source video for the foreground subject and background scene are both coming from the same HD digital video camera. As some shooters have instructed previously, when the blue-screen behind the subject is "under exposed" by 1 to 1-1/2 stops, it is supposed to achieve the best results, and the compositing does go fairly well. But, when the background is put in behind the "properly created" subject matte, the background is "dark" by about 1-2 stops. If I "over expose" the blue screen, the background ends up correctly exposed behind the subject. Trying to alter the brightness of the background does not do it. So, now you can see the dilemma I am in: A well exposed blue-screen produces a good matte but a dark background, while an over exposed blue screen produces a properly exposed background, but a lousy matte. What to do......?????

Hi everybody. I hope everyone is having a great Xmas, and a terrific New Year to come. I was just curious to know what you all thought of this new, upcoming, Sony PMW-F3L Super 35mm Full HD Compact Camcorder, and how it stacks up against the RED-One. This new camcorder sure looks good, with great specs, a good price, and completely professional. It just may give RED a run for the money. Check it out here: http://www.bhphotovideo.com/c/produc...m_Full_HD.html Any opinions, and especially any spec comparisons, would be greatly appreciated. Thanks ahead of time.

What other accessories would you need to make a SMX-12A2C Camera comparable to a RED-One? The "kit" is as follows: > # SMX-12A2C Camera > # Tripod adapter > # CAT 5E or CAT 6 Gigabit Ethernet cable (optional) > # Power over Ethernet adapter (optional) > # Trigger connector > # IR-cut filter > # Camera Application Software > # API Library I've been investigating this camera, and it's price is very reasonable, but hard to believe it could match the quality of video coming from the RED-One in 2K. I realize the RED-One can go as high as 4K, but I'm only interested in it's comparison with this camera in the 2K mode. If anyone has the knowledge or experience in using the SMX-12A2C camera I'd appreciate your feedback on this issue. Thanks.

Is there a quick, smooth, and easy way to link up still images from a time-lapse sequence in Adobe CS5 ? I will be shooting time-lapse with a Nikon D2X, and as such, realize that I must do it in JPEG not RAW. But, after the shooting is done, I must put all those stills together sequentially in their high quality. I am hoping there is an option in CS5 that will allow me to do that. If it is in the manual, what page, because I cannot find it. If not, what would you suggest? I do NOT want to lose the original quality in the process. Thanks.

Well well, looks like the 7D has some competition. A new kid is on the block by the name of the Nikon D3100. It's true, the Nikon is only 14MP, but it has AF "during" video capture, AND records in full HD, in h.264. Also, it's only $690.oo It has live view, one touch record, and a 3" LCD screen too, just like the Canon. No hassles using Nikon lenses either. Very, very interesting. I will most definitely be checking into this new camera of Nikon's when I can get my grubby little hands on it. Your feeling and opinions on this would be most appreciated. Thanks.

Since I cannot afford, at this time, to buy a separate recording system, and need to record sound into the Canon 7D "directly", which of these two microphones would you suggest is the best for recording WILDLIFE sounds, and maybe an occasional interview, in the field? 1 - Rode NTG-2 Condenser Shotgun Microphone 2 - Rode Stereo VideoMic - Camera Mounted Microphone They are both about the same price, and all I can afford right now. And, how would I hook the NTG-2 into the camera anyway? Do I need some kind of adapter? Thanks for any and all help.

Is there ANY camera out there at all (camcorder, DSLR) that comes close to the "interchangeable lens" Scarlet by RED (if it ever comes out)? With the same sensor size? With the same HD 1080p quality? Able to record in RAW HD, or close? In a price range under the RED-One? Acceptable for major television production? Etc, etc, etc ?? Thanks.