I am not quite sure what you are saying !
Red=Good or Red=Bad ?
My big lesson with gear was buying a 16mp square MFDB that I traded and lost on - I should have just gone for the 22mp/H1 that is my workhorse
I have also hit big losses on DSLRs from the D1 onwards - I had no choice on that front becuase they were the best at the time
My lesson with gear is 'just go in at the top' - (if that is where you are going to eventually end up anyway)
I am formulating an economic argument for Red being
no lenses to purchase
it wont be redundant and 'valueless' in two years
and therefore could be cheaper than buying OK kit in the long run
aditionally having RAW archive footage in may library (and my library is a significant part of my income) will also mean no 'lost footage'
A large part of that argument revolves around my 'phlosophical' question which is
Will commercial shooters offering a moving and still package be the norm in the next three years?
Because if the answer is YES then I HAVE to buy some sort of video kit to stay afloat and therefore why not just pile in at the top end
I think that if scarlett takes nikon and costs 1/2 of Red then the answer is yes - but something makes me think that wont be the case....
Who knows what the future brings and everyone has a different business model.
Most still photographers on any level do not want to mess with moving imagery, most videographers, film makers do not shoot high end stills, so this has not converged as much as it probably could/would/should.
The leap is not that drastic in learning curve, art and even monetary investment, but that doesn't mean much in the real world.
Is the Red a good camera, I don't know though it looks fascinating to me.
Is it an easy video cam, no not really but that's not what it's designed for, though beautiful cinema usually comes from the perceived flicker of 24 frames, a file robust enough to move in post and a physcial frame size large enough to throw focus.
Once again everybody has a different business model, though knowledge is power and the more you offer usually the more you work.
There is nothing unique about that in any business.
Then again buying a $1,000 handican and jiggling it around while someone shoots stills isn't going to say much and for this type of work moving to a $35,000 Red isn't going to change the look of production.
This is about producing beautiful imagery whether still or moving and if the camera doesn't stop you or something you don't have to think about then that's the camera.
The thing I am most interested about with the Red is the higher iso.
In this clip, found online, at 500 iso the blacks look very clean and ususally with highdef any black image underexposed gets very noisey.