Resolution
The RED compresses any resolution it shoots, at 12:1. This is not as alarming as it sounds, as its codec delivers a solid wide-ranging and noise-free image. We shot at 4K resolution (which is not really required, as a 2K image is good enough for theatrical release, takes less time to render, and does not require a super high end system). You can also shoot slow motion with 2K up to 100fps. RED ONE is a 4k camera, which captures beautiful images at 4:4:4 through the dual fiber channel outputs, 4:2:2 out of the HD-SDI output or any of its many choice format but according to lot of the people I have talked to including the owner of the camera, they have told me that the camera is “not a true 4K, as each of the 4K’s worth of pixels it creates for each frame is interpolated (from compressed Bayer Data at that).” Source: ProlostBlogSpot .
People with Budget
The camera is obviously not a cheap buy for a micro budget filmmaker. The body itself costs $17,000 and minimum numbers of accessories required including lenses, connectors, wires, LCD, etc. means that the smallest effective camera package will run about $30,000, while it’ll cost $50,000 for a mid-range package and $70,000 for the full tricked out package. And remember, many nice add-ons are still not available including the viewfinder, hard drives, some lenses, etc. This means you won’t be buying one anytime soon (unless you hit the lotto), but do not despair -- rentals are increasingly affordable. [Editor’s Note: The recent announcement that a more affordable, compact camera from the RED company, called “Scarlet,” may mean that you will be able to benefit from RED technology at a fraction of the price in the future. More on that here at MFM after the announcements at NAB ‘08]
Micro Budget
Now some good news for independent filmmakers -- there will be more of these cameras out there in the next year or so and the firmware is becoming more stable. Most of the buyers are aspiring DP’s, Gaffers and Grips looking to get experience, so if you are shooting a feature you will be able to get a knockout deals comparable to the HVX-200. Shhh, You did not hear this from me.
Rental Rates
The rental rates vary with package but camera rentals range from $500 to $1500/day. Obviously the longer you shoot, the cheaper the camera. And remember the first rule of Producing 101 - everyone is negotiable. For films with a budget between $100,000 and $250,000 – I feel your only option should be RED. After much research, I find that Reduser.net is a good resource to find camera owners who are willing to rent.
For feature budgeted under $250k, if you do decide to go with the RED, all the bigger rental companies try to push their own DIT (digital intermediate tech). Since the Red technical learning curve for an experienced DP is short, I would only hire a DIT for 2-3 days…because, besides offloading media and rebooting the camera and firmware when it shuts down, they do little else.
Final Conclusion
Even in my sincere belief that compelling content is more important than the camera it is shot on (an argument for another article), RED actually helps the indie filmmaker achieve the quality of 35 for a much better price than all its counterparts.
Would I as a producer, choose the Red for another feature? If a feature falls within the ideal RED budget range (100k and up), I most certainly would! Combining my shoot experiences with the camera’s marked improvement since “Anything for You” wrapped, I would say it’s the only way to go!
To see more about Anything For You, just go to our website.
