Target Market

[brake]

I tend to think I (my company that is) falls right smack dab in the middle of RED's target market.

We're a small motion graphics company thats been around for about 5 years. We've done a few chromakey shoots now and again with hired DP's, and I've had the opportunity to learn a lot from being on as a technical director. I have become fascinated with cinematography in general as a result.

I'm just looking for some constructive criticism on whether I'm taking too much of a risk with RED, as I have somewhat of a fight internally on pulling the trigger with this purchase.

I really think RED WILL be a revolution for companies in similar situations to mine. It seems that it will be trimming a lot of the required resources needed to get a pretty picture into my compositing app. Now, none of us are DP's, but I do think we have what it takes as far as having a good eye and enough technical know how to get through this learning curve and benefit hugely from RED. This previous statement is where I am looking for the constructive criticism, as I know it somewhat disrespects the level of competency it takes to be a DP. I see us really just shooting a lot of high res chromakey element one-offs, and not getting too involved with complex shooting with a lot of focus pulling etc.

What do ya think?

[Steve Gibby]

Nobody is born knowing a single thing. Even the most experienced DP started to learn at some point - and hopefully never got to a point where they felt they had all the answers. If you have the capital and ambition to get a camera system that will give you a potential avenue for upward mobility and fiscal flexibility for your business, then you may want to give RED One a try. Accomplished DPs got there by a combination of talent, training, technology, and tenacity - the four T's. A RED One camera will help you in the technology category. You then have to ask yourself how you measure up in the other three categories. If you're satisfied that you have green lights on talent and tenacity, then the final element (training) will come through exercising tenacity in putting the technology to use.

[Jeff Kilgroe]

I'm just looking for some constructive criticism on whether I'm taking too much of a risk with RED, as I have somewhat of a fight internally on pulling the trigger with this purchase.


I'm in a similar situation here. I know that I don't need RED to continue my current line of work. In fact, the HVX200 is overkill for most of what I do for my clients. However, I'm now trying to branch into new areas as well as feed my interests in cinematography -- even shoot a few short films of my own.

You're the only one that can decide what is right for you. But if RED seems like a good fit and you're not taking a financial gamble to buy it, then I think you will be just fine. Having a low reservation # (anything under about 1200, I would think), you're going to have a lot of opportunities to get ahead of the game. If RED turns out to not be a good fit for you, then you will find it very easy to recover your investment I would think.

As Gibby said, everyone has to start learning at some point. Even experienced DPs will have to learn a thing or two about RED. He's right on with everything in his post (as usual). And your own ambitions, talent and tenacity will go a long way toward making up for a lack of formal training.

[Greg Greene]

I always thought motion graphic artist would make excellent dop’s just based on their experience creating interesting work everyday with all kinds of media.

GT

[MikeCurtis]

There's a lot to be said for Gibby's points. There's a LOT to be said for having The Thing and having consistent access. You can't learn/grow if you can't doodle, and it is damn tough to doodle when you don't have The Thing.

That said, the flip side is the business side - never buy what you can rent.

If you really want to push into the DoP direction, then by all means do it. If it is one business purchase among many, and you could be renting instead of buying, think about how much other stuff you could buy for your all-in price.

As a buyer, I think there will be a lot of value in buying the basic kit and working with still lenses to doodle and learn, but rent the bigger lenses and other accessories once client work comes in.

-mike

[Emmanuel Cambier]

I always thought motion graphic artist would make excellent dop’s just based on their experience creating interesting work everyday with all kinds of media.

GT

Absolutly

Sometimes it can be a plus, to start "fresh" in a new activity, your mind is wide open, and you could come up with very personal results.
And after all it's all about REVOLUTION… in the industry, in the art, in our buisness, in our heads.

Emmanuel

[Hrvoje Simic]

If you have enough proofs for having an "eye", enough hours in front of the screen, enough will to learn, enough love to the profession,
and if your company can afford this with no major risk taking, you will most likely be fine.

Don't confuse caution with doubt. Ever.