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Charles Kingston

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  1. I’ve spend quite a lot of time reading over the last 7 years or so of discussions about the RED cameras, I found a lot of it more entertaining reading than useful. Actually, the two entries at the start of this RED folder probably contain more useful information that the other several hundreds of posts :) I’ve never used anything but 2/3” format cameras (HDCAM and so forth), so my only experience with high-end digital cameras like Genesis, Red and Arri is limited to what I see on TV and movie screens. From all the hype, and the sheer number of Red cameras out there you would think there would be a lot more productions using them, but they seem to be restricted to lower-end stuff. (There are exceptions, but not so many as you would expect from such an advanced but relatively cheap camera). I don’t have an particular ax to grind, but I've noticed that people keep saying that the Alexa has better color quality than the RED cameras, but I have to say I’venot really noticed that much of a difference, at least in the films and TV shows I’ve seen. A lot of people say the RED Code method of storing recordings is really hard to work with, others turn purple and scream it’s the easiest thing in the world, but it sounds like it really depends on what Post house you are working with. (The people I deal with will only take RED code that has been converted to other Industry formats first, but they say there are other places that can accept it directly) I would be interested to hear some opinions as to why for example, the newer Arri series cameras with apparently lower orders of performance seems to be cornering the market for digital film production. And also, what do you think Red should (or could) do to improve the situation.
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