Be aware that just like with still digital cameras there is no free lunch.
Moving from still to motion or both is a different animal.
First it's the camera and all of them from the 5d2 to the Epic or even the crazy assed priced Alexa are good, some better, some more features, some large, some small, some you'd only rent (Alexa) some you'd only buy 5d2 or the new Scarlet.
But once you open that door, you gotta add rails, matte boxes, mounts, arms, heads, sticks, broadcast monitors and you have to be careful because you can drop 10 to 20 grand on "stuff" before you even blink.
Then there is continuous lights and there is no deal on continuous lights. HMI's like the Kobalt Bron are 24 grand for a three light kit and not a lot of watts and when you go to Arri's even 1.2 ks cost a lot, then you gotta have the power to run them and a 1.2 hovers around 15 amps so be prepared to blow some circuits or buy a truck load of generators.
Then we go to sound. I don't care what you shoot, someday your going to have to do sound and don't even dream of thinking you'll be a great sound tech just because you can read some sound bars. We've had sound guys from around the world, from amazingly good, to amazingly bad and bad means non usable or going back and luping.
We have a bunch of sound kits, but we never use them, I just hire sound techs and let them work it out and then even with a good tech, every edit you do, if the locations change are going to require sound sweetening at the end. You may do some of it yourself, but your gonna need a good sound house.
And now the monster in the closet, post production. Editing is a black hole of time. It's nothing to spend 300 hours on a professional 6 minute video. Yea you can get it easier, do it simple, but with the world of graphics, fast paced multi media, get ready to start interviewing editors. Good editors.
But I went off topic.
I guess you can use a tilt shift on the RED, I've never done it, but you can use Macro. The Red file holds up amazingly well, regardless of the BS you hear about compression or not really a raw. It's still a digital file, but if you shoot any other form of motion camera (at least the ones I use), they all look like video to me except for the RED. The RED file looks like motion cinema film.
My RED's top out at 1000 iso and you gotta watch the blue channel, but other than that it's an amazing file.
Oh yea, buy some ND filters.
Tell me about those ND filters ! They drive me mad. If there are things that I hate to bring on set are those kind of objects.
But supporting BC post for Mark: yes, be aware of the door you're going to open...
I agree that PP is the massive black-hole, is the Quasar of motion.
I started to edit motion regularly about something like 6 or so months ago and I'm surrownded by professionals I can call or ask for advice when I see them.
And it's a complete mess. And progress are slow but regulars. In 6 months I have just scratched the surface, and beleive me, I spend a lot of hours on it.
And, oh yeah...I'm not married nor have childrens. I have a couple of girlfriends that I see from time to time when we want to have fun, (since motion, I hardly see those women), so a lot of free time.
Despite that, it's serious from A to Z.
Once you think you got it, once you think you solved a crucial question, another araises. A late example: I was happy because I learned quite well one of the Nuke keyer with good results.
Then, in a delicate footage, I couldn't make it work properly. Then, a Nuke guru told me: oh yeah, but in this case you have to use those 2 keyers combined, bla bla...and another one more to learn!
It never bloody stops.
Editing basicaly is not that much of a big deal, but as soon as you want to makes steps...you open the Pandora box.
You have to be aware that you'll have to do a lot of sacrifices in time, energy and training if you want to earn money with it, or simply do very good movies.
Building your workflow will take time, nothing to do with still.
Then, I've been loosing an incredible amount of time in the internet for information, and there are so much that it's very difficult to
see what's reliable and what is less. Internet is another black hole in terms of time. That's why I'm trying to centralized as much as I can
threads in Lu-La because being on 10 forums is not something I particularly enjoy. Although I know that Lu-La is not motion specialized,
and therefore still a bit in its infancy, there will be more and more people involved and the motion forum will work for sure, although we'll still have to be in
places like Creative Cow, FXphd etc...
Then, manipulating steadycams for ex is not that you buy it and you're ready, no. Eveything takes time. Everything.
Then, as BC pointed, the sound neutron star...it's okay to be able to do your sound. I'm doing it...for my indy stuff. Now, on an assignement where everything has to work
and where time costs money, forget it. Don't loose your time with sound and hire a tech.
It is zillion time more complicated than stills, but...it is zillion time more complete and exiting.