First off, I don't use terms like "haters" because at the level of the industry I'm usually working with, decisions like camera choices have little to do with emotion and a lot to do with needs, be they practical, physical, or financial. Now, that said, in the network/cable level television industry in which I spend most of my time, what Red sees as its biggest strength is, ironically, probably its single biggest Achilles heel, and that's their devotion to constant change. In the television business, stability is usually what's desired, and that's one of the reasons for the current dominance of the Alexa in my world. I have my own issues with Arri's choice of Apple ProRes as a standard recording codec, but one of the things it does bring to the table is stability over a wide range of software and for an extended length of time. With each revision of camera firmware and the SDK, Red often breaks what was already out there with the promise of an improved iteration. And that's usually been the case, each new release has been somehow better than the next. But the television business is about making a series of shows that need some commonality in terms of the work path and formats used over a period of many months, something that the rapid pace of change with Red doesn't really serve very well. The ease with which the ProRes files can be played and viewed on just about any computer that isn't based on Linux, using nothing more than Quicktime Player, gives a perception of simplicity and stability that is very appealing to those who just want things to work. They really don't want to hear about debayering, RAW, or anything else. So if I were to offer an opinion on what prevented Red from wider acceptance in the television community, it's probably that something else came along that seemed to have some of the same advantages in terms of flexibility (grading from LogC is quite simple, and bears a great resemblance to grading from RedlogFilm), but appeared more stable and simpler, as well as producing images that cameramen happened to like for aesthetic reasons I won't get into. If Red wants to regain footing in the television market, I would say they need to slow down a bit (which is not really in their DNA), emphasize stability, and offer a recording module that can record accepted, standard HD formats that can be encoded using RedlogFilm and a selected color matrix (Redcolor, Redcolor2) even if it seems a step backwards to them. The on board RAW recording can remain, and those files can be used when blowups and repositions are desired since those derive great benefit from the higher resolution. But whether they believe in it or not, what the television market wants is great images, simplicity, stability, and files that are already in the format they use. You don't see Arri really pushing ArriRAW in the television market because they understand that what ArriRAW brings to the table is much more significant in the feature market. Red doesn't seem to make that distinction, and although I kind of admire their unbending devotion to 4K and RAW, it's also what's keeping them out of a market that's pretty significant, certainly in terms of visibility.How can RED help you win over all of the other folks ? Or should they just double down on image quality and value and eventually the haters will come around to the RED way because it is so far ahead in price / performance?
I think I just answered that. Serves me right for going off on tangents....Keep the focus on R3D grading... or offer an Alexa-like onboard ProRes / DNxHD workflow as well?
A lot of that is going to be as an answer to competition, and not necessarily to things that are needed by the industry. Sensors will improve in all of the areas you mention as a matter of course. The numbers game is going to constantly be played. Today it's Red at 5K, tomorrow it will be Sony at 8K, then ....???? Red at 10K? At some point it stops being about real improvement and starts being about numbers, but I hope it's not just about that. As for a projector, I think there are probably better things for Red to spend their time on, but I'm not Jim, and I'm not their product manager. Personally, I'd like to see them innovate in things like the supporting software, because I think the current metaphor for things like color correction could stand a serious update. I've discussed a number of ideas for that privately with Jim, but there has to be a development agenda for both their current and future products, and at the moment, that agenda seems to point elsewhere. RedRay has had perhaps the longest gestation period of any codec in history, and it's still not released. I'm not really going to prognosticate as to its near or long term relevance, time will tell on that. Personally, I'd like to see a single minded dedication to the cameras and what they produce, and leave the distribution to others, but that doesn't seem to be Red's way. So what I think doesn't really matter, but I do think if they move into other product areas, it shouldn't happen until they finish what they currently have on their plate.What would you work on most in future sensors / imaging pipelines - Colorimetry? Latitude? Sensitivity? Medium Format? Frame rate? Price? And how about that 4K laser projector and RedRay?
I would start by saying that I think all of those companies are doing a lot of things right, and they're all doing it in ways that both complement and extend their existing products, a very wise approach. Blackmagic has really impressed me with their handling of the DaVinci line, something I was concerned about when the purchase was first announced, and even more concerned about when the pricing structure was revealed. But to my surprise and amazement, they have done exactly what they said they were going to do in terms of stabilizing, improving, and modernizing Resolve, so more power to them. AJA continues to innovate and they do it while maintaining a very high level of quality and reliability, something to be admired. Avid and Adobe are both seizing the opportunity afforded by the unexpected stumble of Apple in the pro editing market, and I'm glad to see that. In terms of what I think they should be doing, I think Blackmagic and AJA should continue doing exactly what they're already doing. For Avid, I'd like to see some specific things, such as simpler, more open, and more reliable relinking of non-native formats by allowing various criteria rather than the predefined fields that MC insists on at the moment. I'd also like to see resolution independence, which probably means killing DS, but so be it. They are already moving towards an open API for third party hardware, and that's something I really applaud. With Adobe, I've long been a user of Photoshop and After Effects, and those programs are being constantly improved. As for Premiere Pro, well, it doesn't really have significant presence in my world and so I really can't offer an informed opinion. They seem to be doing things right, though, as a lot of people here and elsewhere seem to be singing their praises.I'd also love to hear what you think Blackmagic, AJA, Avid and Adobe should be doing.