I think RED is going to be the next new entrant in the still photo field.
Exciting times.
Edmund
Maybe not stills, but still image only production in the commercial world is so 2007.
Red made movie and TV cameras. It was a proven market and the place to go to get attention. It worked . . . still does.
But RED has always called their cameras dsmc . . . digital stills and motion camera.
Not promising to produce a still the quality of a 50mpx digital back, or even a 35mpx still dslr, but a camera than can cross territory in the new age.
Prior to digital, (In commerce) still photography was becoming more and more marginalized. First through broadcast television, then cable advertising and now the web, because all offer a moving pallet.
Now to qualify my thoughts, I think only in the realm of the commercial arts. Love photography, it's been my career my adult life and never a hobby, which is a plus making a living at what I love, but I don't let love get in the way of business.
In business the lines are crossing where motion and stills are intertwined. Still imagery in motion content, motion content turned to stills, all the productions wrapped into one.
From a technical standpoint, the software of motion to stills is not that far apart, the cameras are also combining functions, so if you can work light-room, give it a week and you can work Resolve.
below from resolve 9
Doesn't mean there isn't and won't continue to be specialists production companies that only shot motion, photographers that only shoot stills, but digital has brought them closer together than ever and this is just the start of new requirements, not the end.
This type of thought is a hard sell on this forum because it's historically based on still photography, mostly landscapes and inanimate objects where sharp clear detail matters as much as the content, to some people it seems to matter more.
But in the new world of commercial production, it's all about the concept, the story, the look, the creative brief and the ability to play on multiple platforms at once, but today . . . it really about ROI.
Everybody advertiser and editorial platform wants as much content they can get for the budget and the time.
I think RED saw this coming, in fact I know they did because from the start their marketing centered on movies, commercials, TV projects and editorial stills.
RED's cameras make great motion imagery and under certain situations pretty good stills. I see A level movie posters that were produced from RED capture, (which isn't a leap given the level of post production and retouching on movie posters)
But REDs are not small, have a sensor format for motion and if you've worked one for a day hand held you'll be tired. It is a serious piece of equipment, though a horizontal format isn't a problem anymore because 75% of all our comissioned work is horizontal, still or motion.
RED also is the only motion camera company that pretty much covered everything from the start, from lenses, the bodies, accessories and grading/processing suites hooked to their own graphics accelerators.
Will there be a time when one camera can do it all. Maybe . . . probably because that's what the commercial market is asking for.
But is Annoucekina the place for RED? . . . yes and no though they'll be there, but in a few years photokina will be seeing a lot more companies like RED.
IMO
BC
