I am going to dive into the video market and have no idea which camera to get, I like the idea of getting either the cheapest red scarlet or the FF35mm Red with the 13 stop DR. OR getting the Canon 5D. I plan on using natural light, V Flats for white bounce, home made kino flos, and a 1200 HMI . I want the processing to be as easy as possible! The destination for the video will be TV and Web. I might be recording sound at times(probably outsourcing that because i have no idea how to do that). so this will be for semi-professional purposes. I already have a bunch of canon lenses by the way. I am wondering what the differences in these cameras will be for my real world use. I know it is all speculation because these cameras arent even on the market, so dont get too serious about this, just looking for some insight. thanks in advance.
Ive just gone video as a newb
my experience with the D90 is that it is bloody hard to shoot video right with a stills camera - and the current red too not that I have tried that (irrelevant of quality)
Pick up a sony Z1 or EX1, you will see that 'steady shot' and AF and slack DOF are critical to shooting usable footage easily
DSLRs and the RED are for shooting 'cinema' - think dollies and focus pullers - fantastic if you have the time/budget
The RED lenses may of course be AF/VR and canon may enable that functionality too
Manual focus on a stills camera is one thing - manual focus pulling to an unmarked, undamped 'stop' without shaking the camera is quite another - and I used to do football every weekend with a 300 2.8 manual on an F3 - redrock build those gizmos for a reason
If you are thinking of parting with big bucks I would buy/borrow a SonySR12 and a D90 - try them side by side and you will see - I borrowed a z1 and new straight away - I tried a full broadcast thing too - a different experience again - more manual but soo solid on a $12000 tripod !
Of course Im a newb too - so maybe it all falls into place
and the processing is never going to be easy although I reckon stills people seem to be less baffled by a raw tapeless workflow than videographers