The RED is a small revolution, because it's the first HD-prosumer-cam with a big single super35-sized-CMOS-sensor and uses a "RAW" approach,...........
Film in the movie-industry has reached an incredible quality, the negative stocks are more advanced, the scanners are better, ........................
That's why 95% of the Hollywood-productions are still made on film, sometimes I whish we could get this technology for our medium-format-cameras, too :-)
What has this to do with the P40+? .
There are a lot of parallels between digital stills and digital video.
Just like a few years ago in stills, the film Indie crowd and some episodic TV have been begging for a full frame (movie full frame) digital camera, rather than the small 3ccd chip cameras that pull focus for miles and just the frame size is a big attraction with RED, maybe even more than the raw format. That and the price, because even at $30,000 owning a full fledged movie camera at that price is pretty cheap.
You can kind of think of the RED like the original Canon 1ds as it's the closest anyone has come in digital video with a film quality look and ease of use . . . and also costs.
The issue with digital motion beyond the rolling shutter, is the standards for color timing and post processing are not as accepted as film. With film you call go to almost any major post house and colorists, explain the look you want and they will get you there all with time code intact.
With digital video it's a different process and just like digital stills pretty much a roll your own process.
Also just like digital stills, digital video can look beautiful and film like under one sceanrio, casted and digital looking in others. It really is lighting subject dependent.
Most people that shoot digital video try to use a desk top computer to color grade the video and it can be done, actually with desktops and most higher grade software anything CAN be done, but that's the problem because it's usually a slow process rendering dozens of filters and transitions on a motion clip.
The best and most cost effect way to color time/grade video is to go to an expert colorist that works a DiVinci. It's a process and expensive, but the time savings is more than worth the costs as a DiVinci works in real time.
When we shoot motion, I take a few still frames from each scene, process the stills out in photoshop, make prints and bring them to the colorist for a base. Then after the first session I can usually leave and they run the colortiming on line and I can check it back in my studio while I get on to other work.
It's a big time and money saver and a nicer way to work than sitting in the room for 12 hours saying try a little less red.
But back to the original question, what does the RED have to do with a p40+.
Well in a way the process is the same, the smaller planned RED cameras will be a lot cheaper than the larger 4 and 5 k cameras, the process of do everything yourself is also alive and well in the the video world just like the still world and the backend process is much more complicated with digital than it was with film.
As with digital stills, with digital video the more time you put into the front end, lighting, selecting scenes, marking the "print" scenes instead of just shooting wildly, the less time you put into the back end.
Also digital video is going through the same adolescent period as stills, with roll your own color, multiple formats, frame sizes and the same standard issues as monitor calibration, file format delivery, even down to delivering a final cut.