Is there a winner here between Canon and RED?

[Darren Kelly]

Good for you Craig.

It’s not the question being posed, but good for you!

[Douglas K. dempsey]

David:

I second your mention of the F3. It is apparently becoming popular in corporate, docu and commercial shoots, and does deliver tremendous image. An ideal indie feature camera as well. If you can rent an Alexa for your whole shoot, fine. But if you want to economize, especially on long project like a docu or indie film, you buy the F3 and basic lens package in the $20K range. Then you rent the other primes, zooms etc on shoot days where you need them. Of course, you can skip the XDCAM format and go directly out via HD/SDI to any number of uncompressed recording devices. Or you can spend another $20K on their upcoming deck to record “raw” using LUT for image control.

Doug D

[Craig Seeman]

YOU, not I, made TWO points.
One is that your edit system can’t handle it. The other is you can’t display 4K.
That was YOUR response to the question.
You can edit 4K in a 1080p timeline.
That is MY response. 4K has value.

[Craig Seeman]

[Michael Hancock] “It’s valuable sometimes, but I’ve seen it breed lazy shooting too.”

That’s up to the DP. I know a number of people who had to deliver SD and used 1080 in SD timelines for just such option. Same for 1080 in 720. Like anything it’s a creative option.

[Gary Huff]

[Douglas K. Dempsey] I second your mention of the F3. It is apparently becoming popular in corporate, docu and commercial shoots, and does deliver tremendous image.

Let me chime in here to third the mention of the F3. It’s available now and is a great camera (especially with an external recorder). If you own an EX-series camera already, the two cut well together. When it came out I totally saw the market it for those type of shoots as you mention, Douglas. Not everyone needs 4K (remember, 1080 is practically 2k), and the image holds up under a moderate zoom for re-framing as well.

[Darren Kelly]

Craig,

Your infatuation with me is getting old very quickly.

I don’t think my system is capable of managing that much data – in other words the amount of data used to shoot in 4K, or even larger.

I can’t display 4K natively. I’m not wealthy enough to be able to afford a 4K projector, nor the high quality screen I’m sure it affords. Can I play it out to a 1080 device – sure, but if you’re going to play with the big toys, I think it’s important to be able to view them natively.

Lastly, the name of the thread is : “Is there a winner here between Canon and RED?”. So far you have yet to voice any opinion that is based on that question. As usual, you like to try an impress the world with responses about editing, and work arounds for it.

RTFM – OK?

Please do me a favour. Please cease and desist responding to any post I might make on any forum on the internet. You have no knowledge I need.

Govern yourself accordingly!

Cordially Yours

[David Roth weiss]

[Douglas K. Dempsey] “Of course, you can skip the XDCAM format and go directly out via HD/SDI to any number of uncompressed recording devices. Or you can spend another $20K on their upcoming deck to record “raw” using LUT for image control.”

Yep!!! Most of those I know use it to record straight to ProRes 422 or HQ on an AJA Ki Pro. It’s a great way to go, and the camera body is just $17K, which seems like a steal.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.com

Don’t miss my new Creative Cow Podcast: Bringing “The Whale” to the Big Screen:
https://library.creativecow.net/weiss_roth_david/Podcast-Series-2-MikeParfitandSuzanneChisholm/1

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

Creative COW contributing editor and a forum host of the Business & Marketing and Apple Final Cut Pro forums.

[Steve Connor]

[David Roth Weiss] “Have you considered the Sony F3 Steve?”

I have! We’ve been using it as our primary camera for a couple of months now, it’s fantastic especially with the Nanoflash. Just about to start an edit on a feature we shot with it in India

“My Name is Steve and I’m an FCPX user”

[Steve Connor]

[Gary Huff] “Let me chime in here to third the mention of the F3. It’s available now and is a great camera (especially with an external recorder). If you own an EX-series camera already, the two cut well together.”

We’ve been using a 7D as second camera with our F3 on interview setups and that cuts even better than an EX.

“My Name is Steve and I’m an FCPX user”

[Gary Huff]

[Steve Connor] We’ve been using a 7D as second camera with our F3 on interview setups and that cuts even better than an EX.

Steve, thanks for that. I’m currently working on a set of interviews shot with one F3 and they did three takes for the CUs, which, as you can probably imagine, caused a whole host of problems.

I had suggested to the producer that for next time we look at inter-cutting with a DSLR, so it’s good to know that someone is already doing that with success.