Without Redcode RAW the cost and the pain of dealing with massive files would have simply shown up in post; more than offsetting the price of the camera.
Hmm low noise and dynamic range doesn't make it onto this list? / Or very good image quality (which is a combination of a number of things, including some of the signal processing going on in Redcine).
2- Compressed RAW isn't quite unique to Red as the SI-2K is doing the same idea. (Of course, not at 4K.)
I think Red One's greatest asset is me, because the world revolves around me, right??? :) But I voted for REDCODE RAW, because I would not be able to afford the equipment to edit in 4K if this did not exist, no mater how inexpensive the camera was...
Ask yourself, If Sony releases a 4K, Red Code Raw, multiple lens mounts, etc camera? Do you think they would sell it for $17,500? It's definitely the price, at least for me. Let's start a new poll! :sorcerer:
Itīs definetly the combination that is key...
I voted price, but price would have meant nothing if I couldnīt deal with the material in post, affordably (hence REDCODE RAW), and although I could have lived with normal HD, or better yet 2K, 4K is the ultimate caramel - even though it might therotically only be 3K... (i donīt care as long as I can Downres to 2K!)
I go with REDCODE RAW because this feature makes 4K actually a viable option due to it being relatively simple to work with, thus bringing the digital world of filmmaking, generally more accessible to indie filmmakers than film, up to the quality standards of film, and indeed in many cases surpassing them. Dalsa has 4K, but they offer no reasonable means of recording data and handling it. 2K @96 fps sounds pretty sweet but from reading the boards over the last year or so it seems like most people are interested in RED for their own feature projects, in which case 4K is probably a better option in most scenarios. That said, it really is all those features put together at the price point of RED that make it such an appealing camera. :-)
35mm Depth Of Field
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