How is your Red
Im guessing with Epic some Reds might hit the used market - maybe
Do you ever shoot stills with it
who do the images compare to a D3
can you fire a flash
can you hit a button and go from (say) 1/50th 5.6 to 1/250th @ 4
stillswise is it usable at say 800-1200
could you compose a still on the monitor
could I stick it in my bag and do a one tool still motion trip
Ok I guess before we answer is it still photography quality we have to rethink what that is. Is it a 120 megabyte file or a 3000k, 72 ppi file.
And I must preface that I have not shot anything of importance with the RED yet. We've just had it a week and we are doing lens, sound, sensitivity tests.
So to answer what I know.
No it doesn't sync to flash.
No you cannot one button click to change exposure, as the F/T stop is manual.
Will RED ONE's be falling out of the trees since the Epic is announced. No probably not.
A lot are in rentals and owned by rental operators. Also most people willing to sell their RED are on the Epic upgrade list so they want to Lease/sell you a RED ONE so they can retain their upgrade, and use your cash for the upgrade.
It's kind of murky buying a used RED and it took us a long time to find the right seller.
Also you most definitely want the Mysterium X sensor and honestly I can't tell any difference in motion imagery from 200 iso to 1600, though 800 iso is the base
What you can do with the file is freeze on a frame, make a 4k still of it, retouch that still and insert it in your edit. if that's a concept you are trying to achieve.
Oh at does it just fit in your bag. Not, unless your bag is a large Pelican case. It's big and it's heavy and just putting it on your shoulder the first thought is wow, if I trip I'm going to knock a large hole in my head.
Some 35mm nikor still lenses look great, (the 85mm for example) some look like crap, (the 35mm 1.4) but you'll probably never get away with just having one set of lenses.
What the RED ONE is IMO is a dedicated motion camera. A poor man's panaflex and it requires a much different discipline that a still camera, any still camera.
I didn't buy the RED to up my game in stills. I bought it to up my game in motion.
It also has at least as much dr as my digital backs.
As far as high shutter speed looking jerky, it depends on the setting. I've seen some flicker, then I havent' at even 1/500th, but there is a whole lot of software that can smooth this out. Once again I'll know more soon.
Not to take this off topic but read this and tell me where you think imagery for advertising is going.http://www.adweek.com/aw/content_display/news/media/e3i5b647315f27310ef7b93cfd95d948a93
I personally think in a few years it will be a 90% lcd screen world, both in-store, online magazines and for most consumer consumption.
I also think that the camera makers are all going to have to stop protecting territory and step up to the medium, because the medium now exists, it's just the equipment is ignored.
What I really would like is a motion camera that shoots a 5k raw, with a form factor the size of medium format, (and the EPIC is much larger than that). A Sensor that goes from 645 to 35mm depending on the crop, accurate autofocus, a new series of supports that are easy to transport.
I don't want workarounds, kludges, line skipping, two cameras, two types of lighting, a bunch of xlr to mini convertors, no real way to monitor sound, etc. etc. etc.
I also don't believe that for serious advertising work it will become a 5d, 7d, d700, little panasonic, little sony world. They're just not that robust in the world of motion image making and clients are already more demanding in what they want delivered.
These small cameras have a place for tight quarters and fast production, especially with narrow dof, but they still are a workaround.
Once again, IMO