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  1. #21  
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    Quote Originally Posted by Jens Jakob Thorsen View Post
    RED surely lost the battle to ARRi here in the developed world.
    Someone developed the world?
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  2. #22  
    I dont see it as a lost battle Vs Arri. Arri just released their LF minis. Yes people like Arri and that camera is for sure a very good one. Monstro in comparision I actually like better but I have total respect for those that like less K´s, no compression, arri colors and functionality or what ever.

    But, and this is important, Arri mini came out, late last year. Monstro / DMSC2 has been around for what, 5 years? A bit shorter if you take the late deliverables of monstro into account but that´s the same for arri, many people that placed orders for minis LF´s are still waiting for delivery.

    And now as we kind of know what Kommodo is and I think if it was not for the Corona shitstorm, Kommodo would be out allready. And that comes with Autofocus, None rolling shutter, lightweight, small form factor, low power consumption, new lens mount. and a shit low price.

    Now take those new developments that we know comes with Komodo, and imagine it translated it into a 8k Monstro version. Such camera to me would be way more attractive then the LF. I think for a lot of people even the 6k Komodo is more suitable than the ARRIs especially when price is also a factor.
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  3. #23  
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    Quote Originally Posted by Sean Solowiej View Post
    What can we look forward to from Philville 2021? Hopefully investing in infrastructure?
    No army of CNC machines for me if I can avoid it. If and when things get back to a normal-ish state. I have a large project that should keep me filming most of 2020 that has at the moment only been postponed due to Covid-19, like everybody else, we're still having pre-pro meetings in the face of this craziness. After that wraps, likely a feature. Before that starts, philmColorR3 for sure. I've been blessed with time to work on that at the moment as well as develop some properties. I'm working on some spicy stuff right now actually. If that project gets canned and this goes on for a long, long time. Well I'm in the position so many are at that point where we have no real bead on future work in a post-Covid-19 restricted world.

    For the accessories I design, I'm in a tricky situation where it is indeed "just me". You'll notice I collaborate with a lot of people to bring the accessories we offer to market (Cine Filter Crate w/ Ryan, rodClaw w/ Duclos). The other stuff I just go to manufacturers and ask them "kindly" to make stuff. A smidge of product consultation, a whole lot of off the air product R&D and feedback. That's mostly because I'm filming most of the year.

    I went hard designing a motion picture light for about 1.5 years that turned into a very bad business relationship thing with my two other partners "vanishing" off the face of the earth. Literally. The money I put into that could have easily been 2-4 more complete camera packages. Lesson learned about who to do business with in those ways. I choose to work closely with people and companies I can trust really.

    If I was smarter I'd have a small group of employees or something. But I'm a filmmaker first really.


    Quote Originally Posted by Jens Jakob Thorsen View Post
    RED surely lost the battle to ARRi here in the developed world.
    The Mini and Mini LF increased sales for Arri in a big way, but generally there are more RED cameras out there because they were/are more accessible to owner/ops. Arri however has a stronger presence in the rental market from actual rental houses for sure. It varies by region, district, state, city, etc.

    The Mini brought cost of ownership down as well as convenience of a smaller camera into the mix for the first time in the Arri digital world. Out here in LA, I actually know owner/ups that own full size LFs too, but most are after the Mini LF these days. On the RED side, lots of owner/ops as well as rental houses. Pretty much a game of the big three at big houses of RED, Arri, and Sony (Venice). Panavision supports every camera, and the DXL/DXL2 is out in number globally as well.

    I don't really view it as a battle lost if the goal was to sell more cameras. I also think Arri is doing fine in the face of that too really.

    In units sold, though at a much lower price point, BMD's Pocket 6K did gang busters initially, moving massive numbers in the first weeks. That mass market price point inspires a lot of sales because all people can jump in, which is why the larger companies like Canon, Sony, Panasonic, etc. are so focused there. There's sometimes more of one single model of an entry price point camera than the entirety of all digital cinema cameras on the market. Which is crazy, but true. And then there's cell phones which we all have.
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  4. #24  
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    Quote Originally Posted by Jens Jakob Thorsen View Post
    RED surely lost the battle to ARRi here in the developed world.
    That is why in your “developed world” we see shows of the quality of “Kingdom”, shot on Helium. Or films with the production value and visual excellence such as “The Great Gatsby”.

    Red didn’t lose any “battle”. Are there more Arri câmeras out there in production houses? Maybe so. But that doesn’t say anything about the quality of the picture and the versatility of the red workflow.

    It does say Arri’s marketing focus, communication and design tailored to the older guard transitioning from film workflows worked for their target market better. And it’s support and infrastructure from its film and rental days worldwide helped this further.
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  5. #25  
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    I'd like for RED to do well. Really, really well. And I hope and believe RED feels the same about its customer base (no matter how many times we may have gotten annoyed with one thing or another.) I hope once we are past this incredible global event that will take many years for Humanity to really process and understand, RED will be back with an aggressive effort to stabilize and strengthen the relationship between itself and its customers. My suggested tenet for RED: "Leave no customer behind."
    Last edited by Nikhil Kamkolkar; 03-22-2020 at 08:04 PM.
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  6. #26  
    Senior Member Rakesh Malik's Avatar
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    Red's relationship with its customers has always been pretty good. It's had solid customer support, makes great cameras, and so on...

    But there are a lot of wannabes who bought Red cameras because they thought it would improve their work, but more resolution just exposes the flaws in your work if you're not any good. Even Peter Jackson commented on that when working on the Hobbit series, his team had to raise their game in a big way because of the higher resolution. Ang Lee had similar comments about his experience shooting in 4K HDR at 120fps...

    But rather than up their game, some people blamed their gear, and since they bought Reds in the hopes that the badge was a talent button... well, they can't accept that they didn't raise their game, so they blame the gear. Due to Red's prestige, it's a good target for clickbait...

    There are actually quite a few members of the Black Magic forum who complain about Red while also saying that their "high end" friends couldn't make good images with Black Magic cameras.

    See if you can make sense out of THAT.
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  7. #27  
    Senior Member Patrick Tresch's Avatar
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    Kinefinity is the new RED.



    Avaiting DSMC3
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  8. #28  
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    Quote Originally Posted by Patrick Tresch View Post
    Kinefinity is the new RED.



    Avaiting DSMC3
    Very much looking forward to DSMC3 specs after Kinefinity announcement. Would be unfortunate to move away from red, I really don't want to, but new Kinefinity does have some amazing features that if DSMC3 doesn't provide it would be an unfortunate move away from Red..

    All that being said there will have to be some real kinefinity camera tests done before switching. But on paper it's a good thing going...
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  9. #29  
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    I've had some self quarantine time to binge on Netflix and Amazon Prime new content. Red certainly holds a significant share of series and feature production credits in the streaming markets. Prime's Aeronauts, shot on Monstro, is spectacular.
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  10. #30  
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    Quote Originally Posted by Jan Schuster View Post
    Very much looking forward to DSMC3 specs...
    I hear lots of people talk about Dsmc3. Fact is, Komodo was announced almost a year ago and we still don't have a release date yet.
    Whereas Mavo Edge will be available August/September this year. Not sure they can hit that timeframe, but at least potential buyers have a perspective.

    Unless RED is cooking something in their backyard, I doubt there will be Dsmc3 any time soon. But who knows, RED have always been good at surprising us...
    Last edited by Thai Christen; 05-04-2020 at 06:15 AM. Reason: typo
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