Stage and studio work with this camera can compete with and sometime surpass 35mm film as proven in the several Hollywood pictures made with the camera system over the past 8 years. While the run and gun options for this camera exist they are very limited and cumbersome. The RED ONE camera works best on a stage or studio setting. The affordability of quality camera packages, storage for the media and computer processing for the post production has finally hit a price that makes artistic visual storytelling affordable. The REDCODE raw format is above and beyond amazing as the camera was the choice of so many Hollywood films. However, the RED ONE has a pedigree of films and productions under its belt to make any video enthusiast or first time feature filmmaker consider buying a RED ONE camera package to shoot their upcoming project. Buying into RED’s first generation beta tested tech could prove to be more trouble than it’s worth. But does the 10lbs camera body without a lens compare to the new DSLR and micro four-thirds cameras that also shoot in 4K?įirst, the argument against: The support gear and accessories needed to keep the RED ONE in working order are harder and harder to find as the RED does not fully support or make most of the parts for their original flagship camera system anymore.
RED ONE PROFESSIONAL
Is buying into the RED ONE really worth it at any price? With televisions and the Internet taking a firm hold to 4K resolution this past year, the camera that lensed great films like “The Social Network” and “The book of Eli” is available to the video professional at a fraction of the original cost.
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