>>2659940The biggest issue I have with Red is their spec claims vs some practical applications. There has been times I've been on a shoot with it and something goes fucky, or not going the way it should and I'll learn "hmm, so here is where Red fucks me once again." Its just the little things like their 800 base, which is mainly in part do to an IR leak in their sensor to let extra light in that the eye cannot see. When thats taken away, the base is more around 400 if that. Its also extra shitty using ND filters since where they gain extra IR light is just on the edge of the visible light spectrum, particularly in the red. Pop an IRND 1.2 on for example and you've got some red footage for your red.
Of course its just a workaround just like every camera out there. But I've had nothing but bad times using Reds, especially their scarlets since the sensors they use on those are actually off factory line chips that weren't to standards for Epics. They continue to push higher, and higher resolutions but continue to not deliver on good colour resolving. Even after seeing countless grades of the footage, over and over again it just doesn't produce great skin tones that don't look plastic-ish, and its a result of focusing on delivering raw 4k+. I can barely tell the difference between Blackmagic and Red footage. Yet the companies focus on these mechanics because its what people think they "need".
This is where Arri and Sony do it right. The Alexas sensor is 3.2k but produces fantastic colour, and cameras on Sonys end like the F35 are a 5k sensor which is then downed to 1080 14bit 444, but will still produce amazing colour. I'll still hand it to Red though, for as much as I do not like how it handles skin tones, I'll always love me some footage of forests or Hong Kong on it.
