The future of video DSLRs

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OK…daunting post this…as things are moving so fast. But this needs to be said.

DSLRs have changed filmmaking for so many and when I say so many I mean an enormous amount. It’s insane just how many people are buying these cameras to shoot video on. It has taken everyone by surprise, including the manufacturers. Canon are of course at the top of the tree and the others are playing catch up. They have to, the market is just too damn big to ignore.

With the release of cameras like the T2i/ 550D it has opened up the market to everyone pretty much. So much so that I say to kids who email me asking about film school “have you considered getting together with a couple of mates, buying a T2i and a lens or two and shooting a movie every weekend?”. Best way to learn in my opinion. In my day film school was something I wanted to do (but didn’t in the end as I got a job as a runner at Sky) because I could not get my hands on gear. Too expensive. That has now changed…yes lenses, monitors etc cost money if you want the best. But you can EASILY shoot a movie with a T2i, an old Nikon 35mm F1.4 lens, a tripod and a cheap sound recorder with a shotgun. That’s around $1000 give or take…

Now we also know these cameras have some massive limitations. Sound recording in cameras sucks more than Telly Savalas sucked on his lolly. Moire and aliasing give me night sweats. Rolling shutter makes me nauseous. Crappy HDMI connections have driven me to hard drugs (joking!). H264 will make me go postal one day!! There are more issues but no point going over all of them, we know them, we live with them, we work around them. That is life. Always has been and always will be.

Will these limitations go away?  Sure. Mostly. I think. I hope so. Certainly we will get massive improvements, but I can tell you now…we won’t get everything we want for various reasons. First off we are NEVER satisfied. I know I never am. Give me 100mbs and I say gimme an HD Viewfinder, gimme an HD Viewfinder and I will say gimme a built in Nespresso coffee maker etc…Secondly, cost. THESE ARE STILL CAMERAS. We will not in the foreseeable future get for example XLR inputs and BNCs on DSLRs. In fact, I doubt we will ever see them on these cameras…why? Because THESE ARE STILL CAMERAS! :)

A lot of people forget this basic fact. That is most people who buy, for example a 5DmkII, buy it for stills. They don’t want video, don’t care about video and certainly don’t want the cost of their cameras to go up because of that damn video function. HD-SDI BNC, XLR etc would add a lot of cost and of course bulk. Photographers do not want this. That is why when the Canon 5DmkIII does come out at some point, who knows when, may not be for a year for all I know, then I expect it to be a refined version of the mkII. Less moire, less rolling shutter, clean HDMI out maybe…better audio? Not sure. Different codec? Maybe, but it won’t be a video camera. It will be a stills camera with a video function.

Of course that moves us onto the next evolution. Video cameras with these sensors in them. DO I WANT THIS?! YES PLEASE! I will be first in the queue. Panasonic and Sony have already announced video cameras with respectively a micro four thirds sensor and an APS sensor in them. Canon have been quiet so far but surely must have something to announce soon with the competition snapping at their heels. These cameras will most likely have HD-SDI BNCs, 4:2:2 hopefully, WAY better codecs, XLRs, no moire or aliasing etc…and of course much more. Downside? Cost. They won’t cost $800 that’s for sure. Yes, Sony have a $2000 camcorder coming out soon but it has none of the cool features we want, it is in fact simply an NEX-5 with a better body and a mic in.

Sony’s $2000 APS-C camcorder

The Panasonic camera should be pretty affordable, way under $10,o00. I hear whispers of $6000. That would be great! it looks terrific and that sensor, if made more video friendly would be great news. There is a small chance I may be able to get to test this soon too….keep your fingers crossed!

Panasonic AG-AF100

I know very little of the more expensive Sony camera, but it will be exciting for sure. I have shot Sony all my pro life. My first home camcorder was a Sony. I shot Betacam for 17 years. I own 2 full size Sony camcorders and an EX3. I love Sony. They have to come out with something great surely?

The mystery Sony APS-C pro camcorder

Canon I expect will answer this soon. APS-C is expected, they need to make these cameras PL lens friendly, like the Panasonic is. Stick a full frame sensor in it and say “hello vignette!” when you stick a PL lens on it. That’s why APS-C is the sensible thing to do. I am going to the Canon Expo in September. I hope something is announced then. After all I have a huge collection of lenses now, a massive investment. I can’t move to something else now. Unless these other cameras bring out EF mounts. Price wise? No idea, but going by the cost of their camcorders it won’t be cheap. But, we will get the bells and whistles we so desperately need. Hopefully.

Oh, and don’t expect a nice long reach ENG style lens for these cameras. Those sensors are big, not like the puny 1/3″ chips we currently have. To make a proper video lens for a large sensor will be very expensive and very heavy. A high quality zoom lens for my EX3 would cost me around $15,000 and that’s for a tiny 1/2″ sensor! It does make me chuckle when I see the photos of the Panasonic and the Sony cameras with Cooke lenses etc on them…99% of people buying these cameras will not be shooting with Cooke’s or other PLs for sure…still lenses will be choice of the majority.

Where does this leave video DSLRs? Is this fad over? NO CHANCE. Video DSLRs will be with us for a hell of a long time to come. Students, indie filmmakers, event videographers and so many more simply won’t be able to afford these new cameras. The tech will improve and some of the issues will go away. Some will be here for a long time to come though. But of course we are working with these limitations right now and incredible work is being done by so many despite them. This will continue for many years. Also, take this job I am on now. I am shooting lots of timelapses as well as video. I can easily put 3 or 4 bodies in my carry on luggage and it takes up no space and is less that the cost of, probably, one of these new video cameras with large sensors. The small size is a massive plus for me. I can also see the day soon when I travel with a new large sensor video camera and still bring a couple of DSLRs with me, second and third angles etc…it simply makes sense.

The gear am using on this Lucsasfilm shoot (one of the bodies belongs to me assistant)

So when you hear people say, “is this the end of that DSLR fad then?”, tell them no. This “fad” is only just beginning. It’s just going to get better and better. Yes, I cannot see “House” or other major players choosing to shoot on DSLRs if affordable ($10K is affordable to pro companies) cameras are out there that do the job much better. But for the rest of us, DSLRs will be our main cameras for many years to come.

OH and one quick last thing…there is the Scarlet coming out at some point too…but that will be more in the price range of the video cameras I talked about…

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  1. Francesco says:

    DSLR creative style/concept from D.P.

  2. Tony U says:

    I totally agree!

    People have to realise that people get equipment according to their means, and you do the best you can with what you have, and the HD DSLRs (is that the going term these days?) are absolutely a cheaper way of getting equal, or at least comparable quality to what you can expect from a project, be it a feature film, documentary, music video etc.
    I think the aesthetic is also quite unique, almost similar to the difference between 8mm, 16mm and 35mm (odd to use a film analogy, but you have to use the standard after all)
    Certainly for me as an indie film maker, or even just as someone who likes to have projects going, be it for pleasure or work, it is nice to not have to lug around some huge piece of kit with you to do a random weekend shoot, not to mention the convenience like Philip said of using it on certain pro jobs.

    It’s only a fad to the people who can afford to play with the more expensive toys. For those of us on the ground (and just camera enthusiats and videographers in general) it is more like a god send, and to some a necessity. And if not for sites like this that help show off it’s potential, There are quite a few projects that may still be waiting for that few thousand to be able to rent, talk less of own, a bigger piece of kit.

    Wow, i kind of went on for a lot longer than i thought there!
    Anyway, great post Phillip

    1. pbloom says:

      totally agree Tony. Great point about it being a god send for most people and only a fad for the people who can afford the more expensive stuff.

    2. greg dudley says:

      I think that an important to look at DSLR videography as a tool , and judge it creatively from that standpoint. I also think that it’s a huge threat to the traditional commercial filmmaking establishment that was dominated by equipment & film costs and a Byzantine training establishment from PA, Loader, focus puller/AC, camera, DP. This has kept the community relatively controlled and kept rates somewhat uniform (especially union).

      DSLR, RED, is upsetting this balance, now for a few thousand to 20-30k you can shoot film looking footage… This compared to shooting on an arri with Zeiss High Speed primes that would set you back 200k+ or 1000+ a day plus film stock post transfer and editing.

      The positive side to this is that equipment access no longer regulates creativity. I am really quite envious of young filmmakers now growing up. There is nothing stopping them from producing commercially viable films and editing them on their own computer. On the down side, rates are plummeting ( purely supply side economics, a lot more camera people) and the fiercely defined hierarchy of the filmmaking world is in flux.

      This HD video revolution comes at a strange time, TV ad revenue is down and the future of TV as a major revenue stream maybe questionable, and I think that web and mobile apps are going to be a real hurdle for quality standards. I remember the first time I shuddered when I heard on a shoot “Its good enough, it’s going to web…” This was a real blow to people that prized themselves on craftsmanship and quality.

      The future is really exciting but it’s important to distinguish between commercial and independent. And within commercial what used to be ENG and film. And a lot of the technical discussion about equipment can be more ENG ergonomics and function. If you’re trying to compete with film , then creative use of the equipment rules but you will still have a hard time breaking through the equipment snobbery barrier. I suggest use what you think looks best, not what specs you read about. Remember it’s a creative tool and every film stock, lens has its own look. I never like the zeiss lenses because they were to sharp/contrasty and much preferred the Cooke’s. All personal taste.

  3. Thanks for such a balanced and informed commentary on the future of the video DSLR movement…it has changed my life, and I’m glad it is here to stay.

  4. Philipp Ulrich says:

    Interesting post and 100% agree from me! Video DSLRs truly are a revolution in movie making, in my opinion especially because they make producing video affordable to a huge amount of people that could only dream about shooting movies on this level before.
    Sure they aren’t suited for everything (especially broadcast is a field where I don’t see a realistic chance for DSLR’s), but they grant a great entry into the world of shooting short movies, music videos or whatever you’d like to to!

  5. mike chenoweth says:

    Great post, Phillip!

    I love using these in documentary situations where you point at someone and they’re sitting there, frozen, waiting for their “still” – I have to tell them I’m shooting video and they can move around.

    On the flip side, the best is having clients ask specifically for the “still camera that shoots video” look after having seen the footage. :)

    They’ve certainly changed the game. Maybe one day, we’ll see RED catch up. ;) LOL

  6. Great Post!

    While I believe it’s great that there are more and more affordable digital cinema options out there aside from the RED. The majority of stuff I’m shooting though is still with my DSLR and I don’t see that changing any time soon.

    Along with the growing DSLR community of shooters,an even stronger DIY filmmaker community has developed. I really can only see the whole market of indie filmmakers continue to become affordable and share their creative solutions to the studio level work.

    Thanks for all your contributions Philip!


  7. Jacob says:

    My God how I wish they would at least drop some bead crumbs about the new Sony S35…hopefully.

  8. Anthony says:

    Thank you for this post !

    I think after my 550D I will opt for a RED Scarlet 2 / 3 Cinema. Canon optics are compatible.

  9. Great post Philip and I agree 100%. I think that size and cost is always going to be a benefit for HDSLRs when video is concerned, even when the inevitable (and necessary, IMHO) proper camcorder form factors come out with large sensors. And I think image quality will improve on both. The key thing is, as you say, the “large sensor movement” as it is has revolutionized and democratized filmmaking. Anyone with a vision can make a film that could play on a big screen.

    I am working on a post on my 3-reader blog about something similar – (“DSLR upgradeitis”). Seeing as you wrote Part 2 for me already, I’ll just post Part 1 (regarding stills) and call it a day. hahah

  10. chuckarama says:

    What? No mention of the “real” game changer? The deal breaker to break all deals? The ghostly, heard but never seen, RED Scarlet? …Oh yeah… I forgot. It’s from RED. Guess I’ll keep saving for that “someday” when I can own one… It’s a bit unfortunate for RED. I think they’re on the right track (I think because there is no way to tell yet) but _this_ should have been their market. Well, maybe there will be enough of _this_ market left in 4K, when they get things up and running finally.

    1. Paul says:

      I wouldn’t count on RED delivering much more than their increasingly expensive pro gear with far-overpriced “modular” accessories, leaving behind the massive DIY/independent filmmaker market that Mr. Bloom is really talking about here.

      An example of Oakley’s — I mean, RED’s — bizarre arrogance and accompanying cult worship can be found at this Google cache of a RED rant that was subsequently removed (morning-after regret no doubt):

      As for me, I’ve completely left hopes behind for investing in anything RED and am optimistic about the compromises in Sony’s NEX-VG10 (for documentary filmmaking).

  11. Cheers Phil, great post. I totally embrace the DSLR medium and community to the point I’m NYC at B&H selling back all of my SD gear including my beloved Sony PD150. My clients love what I’m giving them shooting with my 7D. As Freelancers/Business Owners Etc. we have to embrace the new and in today’s market place if you don’t clients will move on, you will get left behind. Got my zfinder 3.0 today and looking forward to producing great images with my 7D.

  12. Hailtothe_King says:

    I have been slowly collecting my canon camera lenses as well, I have been following your blogs and videos for a while now and Im amazed really at what this still camera can shoot!

    For what output it does its well worth the investment. Thanks for sharing all your knowledge Mr. Bloom. :)

  13. StevenB says:

    Tooo much technology, to soon,too fast!
    I wish canon would bring back the good old 35mm stills camera… that shoots 24 f/p/s *sigh*

  14. Jeff Dolan says:

    I’ve been waiting for this “State of the Industry” address from you for a couple months. Thanks for writing it!

  15. Peter Urban says:

    Right on the money Philip. It’s only getting bigger.

    I also think that the new cams will be under massive price pressure *because* of the DSLR revolution. I think the big boys (Canon, Sony, Panasonic etc) will be surprised how many people will not accept to pay 10K + anymore when they can do the same or better job with a $1500 DSLR – although with a lot of inconveniences.

    Yes, pros will go for higher price, large chip pro feature cams to make their jobs easier but the number of pros willing to pay up potentially don’t make up the numbers the manufacturers need in order to return investments. So they’ll have to re-think pricing in my opinion. Especially since a lot of pro features have been kept at a high price artificially just to separate the pro markets from prosumers (i.e. HDMI and Component vs. SDI).

    But now the wheel has turned forward another click (or should I say f-stop?) and it can never go back to where we used to be in terms of price / quality / feature / market acceptance. The dslr market is so competitive (and large) that one of the companies that try to catch up will always push and force the others to innovate and this will push the affordable pro-sumer products far into professional space. And if they don’t do it, newcomers will – see RED within the pro cinema space.

    Just a thought. Exciting times.

  16. yooy says:

    global shutter + 2k + raw + XLR in + PL, Leica M, IMS and C-mount = Ikonoskop A-Cam DII
    Something approaching Aaton’s legendary A-minima. Expansive,yes, but appealing inmho….

  17. Nice writing Philip Bloom!

    Yes, I totally agree, the technology is always gets better and better. None of us ever thought about HD-DSLR revolution and finally, large-sensor chip image for video-equal ( I’ll say it “EQUAL” here as you says 1/2″ or more true-video camcorder are still too expensive ; Yep, they’re beyond my reach).

    Shares mine: We also doing Photography, not just event-Videography, and I have followed Nikon systems. So, I’m stuck with Nikon system, HD-DSLR I used is Nikon D5000. I have to admit that Canon 5DmkII is great, BUT, changing to Canon is, again, already too expensive for me. On my budgeting, investing ‘basic’ requirements, meaning with three lenses, rigs support, Battery, flash, will cost almost USD5000-6000!
    Of course, I’ll use the 5DmkII as photography tools too!

    Event video requires fast and quick-response coverage, so, for my event-video, we are still using Sony VX2100 (for 4:3 uses), FX1, Z5, Canon XH-A1, and they keep working until now. Doing that with D5000 is very tiring!

    The arrival of Sony NEX-VG10 is a very welcome for me. The most important is physical model and its’ ergonomic, designed for videographers. Frame rates is also adjusted to ‘standard’ PAL/NTSC. No need of 24p-to-PAL conversion (still looking for how-to-convert 24p-to-PAL perfectly). I’m sure 3rd company will make Nikon to e-mount lens adapter, at least I can mount those lenses !
    Limitation? Of course there is, no XLR, but mini-jack audio input, but no problem for me. Don’t know about external-monitoring (so far I don’t see any video-out connections).

    I have satisfied watching many NEX5 and NEX-VG10 footages around Vimeo and youtube. Great results!

    Will I use it for one-man event-coverage? Don’t know yet, but possibly becomes a B or C-roll alongside with MAIN Z5 or XH-A1 or other true-camcorders.
    We only have to wait until the camcorders available and reviewed.

  18. Lanny says:

    Interesting read, great insight. Thanks for sharing.


  19. art says:

    Speaking specifically to the form factor issue: I think it would totally work if there was a pro-video I/O module in a form similar to the currently available battery grips, except instead of extra batteries, you get 3GSDI in/outs, XLR audio, better monitor, video specific buttons, etc.

    Canon could charge $500-$1000 for the module and the people who want a stills camera could get their stills camera, while the video people could just pay a bit extra and get what they want too.

    1. Richard says:

      Great thinking! That’s definitely the way forward for these stills cameras!

  20. Justin Ho says:

    Well said! I am finally a new proud owner of a 5D mark II, and after reading this I am now prouder haha, new things will come out, it’s inevitable, it all depends on the tool your using, and how you use it to tell your story. I am really excited to see what’s in store next!

  21. Alan Halfhill says:

    I do like my 7d a lot. In fact, because I now use it as my video camera, I now can afford to have all the still lenses I have dreamed of but could not justify it as it was a stills only camera. My clients are extremely happy and so am I. I would not go back to small chip cameras for their extra “video camera design.”

    I have not bought a lot of the expensive extra stuff for my rig because I don’t need them. I have always been a still photographer and am used to this type of camera design. I have made my living though as a video guy. Yes I would like less moiré, better audio and monitoring, but that’s about it. Knocking doen the sharpness has all but eliminated the moiré. I bought the Juicedlink audio adapter so audio is better but we need camera headphone monitoring.

  22. Jon Chema says:

    Great points Phil. I’m interested in the Canon 70-200mm f2.8 IS lens. Thoughts if you’ve used it? Is the IS version 2 worth getting or should v.1 work just fine? Is the zoom sharp with wide open aperture? My other alternative would be a 100mm “L” macro with IS.

    Thoughts here? PS- check the RED forum. They’ve been releasing some awesome news about the Scarlett and Epic being compatible with all the major Canon lenses. The Scarlett concept looks very promising as you’ll be able to take RAW video and extract photos from them due to the hi res. They also just announced a new HDR Video mode. I’m very curious as to what that’ll do?

    Have a great weekend my man,


    1. pbloom says:

      I simply cannot get excited about the Scarlet anymore until they either start taking orders or I actually get to see one. Been a long slow road. When it does come out great…just please hurry up.

      1. cris.b says:

        I do agree that the Red team have had obstacles on their road. However, they are actually building a new road instead, and this is taking longer than they expected.
        (a fitting analogy I feel)

        Anyhow, having played with an Epic, I know that you ( as a film maker) will be blown away with the image, and ergonomics. Indeed, seeing the same lens from your 5Dmk2 put onto an Epic, will blow you away even more than the first time.

        It is staggering…. And blowing people….. away.

        Hey, give me a shout when you’re in Santa Monica and I’ll get you all hooked up with a demo.


        1. pbloom says:

          Love to try out Epic, but that is a whole different league. That is a cinema camera and something very different price wise and market wise to these.

          1. Richard says:

            At $28K just for the freaking body the EPIC is indeed more in the leagues of professional cinema (like Arri Alexa) than anything else. Just heard on IBC that Steven Soderbergh is shooting a project with them in a week or so.

        2. Jon Chema says:

          demo of the Epic?

      2. Jon Chema says:

        I agree…just release the damn thing already! ;) Anyways, did you get my question about the 70-200 f2.8 with IS? Good lens? If so is the new IS2 version worth getting? Its about double the price!

  23. Anton says:

    First off, great post. You are certainly the best voice talking about camera technology right now. I’m really thankful for your blog, insight and wit.

    (All things you’ve already said) The two best DSLR cameras on the market for commercial use are the 7D and the T2i. They both shoot an identical image, the 7D is more expensive and comes with a better body and a few extra functions. The 5D MKII has a full-frame so it has more shallow DOF (and needs full-frame lenses). They are all limited because they shoot on a delivery codec (h.264), don’t have professional audio inputs and don’t have any articulated viewfinder (I could go on and on). But you said the most important thing – “THESE ARE STILL CAMERAS! [with a video function].”

    What everybody is afraid of, is that kids are going to take their jobs, because the market is flooded with people with cameras that shoot HD video. Talent and experience will continue to win out. It’s always been that way and will continue to be that way. The fundamentals of good filmmaking continue to be independent of technology.

  24. Guy T says:

    Excellent write up. I think it’s easy sometimes for people to forget just how far things have come so quickly. The 550D shows this only too well. This camera also proves just what you can produce on a limited budget with a bit of imagination/talent/experience. That is where HD SLR really scores. As you rightly say, Canon’s lead can only push the competition further and this can only be great news for us – the consumer. The next 12 months should be interesting.

    Have a Sony VG10 on its way – be interesting to have a good play with it. Would be surprised not to see a Sony Pro version with more manual control/XLRs at IBC.

  25. keenast says:

    It’s a fad alright, but there’s nothing really wrong with fads. Having lived through a number of fads (many more than Philipp) I want to point out that nothing really ever changes. I hear words like ‘game-changing’ and such and that is total sales speak.
    So many folks get carried away with all the technical aspects and the add-ons and the what have you BUT at the same time have no clue how to actually produce something worthwhile or don’t have anything to say anyway.

    So here’s my point: forget a bit about buying this and buying that and yes Philipp, you’re guilty too in feeding this frenzy ;-)

    Technical stuff is really just means to do something with it. ‘Technical revolutions’ (yeah right!) don’t mean a thing in the end. Give me your thoughts, give me your ideas, give me your vision, shoot 65mm Technicolor or shoot iphone – gizmos won’t help you a bit to achieve lasting goodness ;-)

    1. pbloom says:

      BUT you are missing the point here..without the right gear you will simply not get work. I am not talking about personal short films am talking about paid work At the end of the day that is the most important thing for many people, can I get work with X camera. Your option A: 65mm is out of the budget of almost everyone, B: yeah right, no way a client will pay you money to shoot on an iphone!! That is why this is not a fad, but a massive evolution that has brought about a massive price drop and a totally new way for people and manufacturers to look at cameras.

      1. Mark Dobson says:

        I thought it was all a fad until I bought a 7d 4 months ago and since then my HD video cameras have stayed on the shelf.

        I’ve spent a considerable amount of time researching and purchasing additional equipment for the 7d. Lenses, zacuto viewfinders, Zoom etc etc etc.

        And I’ve had a huge amount of fun doing that. Filming with a DSLR involves learning all about photography and that means that the quality of the work improves.

        I make training and educational films for a living and working with a DSLR almost doubles the amount of work involved. Location work with all the audio issues is far more complicated and despite software like pluraleyes it is a considerable additional workflow to process the files before one starts editing.

        So should a new generation of prosumer camcorders with bigger chips come onto the market I’d be tempted but would probably stick with the DSLR.

        I’m totally knocked out by the quality of the images I’m now capturing and the fact that this technology is available and affordable for people entering the industry is incredible.

      2. Glenn Thomas says:

        Hi Philip, I would have to disagree here. A lot of people these days will hire someone based on their previous work, not what camera or gear they are using. A guy I’m working on a music video for at the moment told me what influenced his decision to hire me. He’d visited this production company to inquire about getting his video made. They showed him their big camera, all their gear and a few examples of work they had done. He told them he was also considering having a home studio guy (me) to do the video. They advised him against that of course! He paid me a visit after that, and having shown him just a few examples of my work he decided I was the guy for the job.

        It never concerned him that I was using a hacked HV20 with a flimsy broken LCD hooked up to an SGPro and was editing in Vegas. All that concerned him was that I could do a better job than the production company based on my previous work.

        For his next video though, he wants me to shoot it on my little $227 pocket sized Canon Ixy 510 IS. He’s seen the other videos I used that camera for and loves the look. Not everyone is obsessed with shallow DOF it seems. The guys love having a video shot with that camera because it gives us the freedom to shoot almost anywhere without a shooting permit or the public knowing we’re actually shooting a music video! A DSLR on the other hand may raise suspicions. The word ‘pervert’ would probably spring to mind for a lot people when they see someone with a big lens out in public. But with a little pocket camera, all they’ll think is you’re just taking some photos to put on facebook.

        Lastly, it’s funny you mention that nobody would pay someone to shoot something on an iPhone. Last week I was actually going to shoot a music video for a guy on my Sony Xperia X10 Android phone. He was going to pay me too, although mostly for the editing part of the job. I canceled because I haven’t had a chance to test out the phone properly yet, but it will still happen. And I know from experience if these guys like the look of that video, as has been the case with the Ixy 510 videos, they will hire me again to shoot more videos on that phone!

        So at the end of the day, people will still pay you regardless of the gear you’re using, providing you’re able to achieve the results they’re after. I’ve seen this in music too, guys with crappy little bedroom studios recording albums for people and getting paid decent money.

        1. pbloom says:

          your examples Glenn are very very rare. i can tell you from the enormous amount of people i talk to and my own experience having the right gear for the job is considered as important as the right talent for most paying gigs. Do you know how hard it was to convince clients to let us use DSLRs when this started? You are lucky if people will pay you to shoot on an Android phone or other dirt cheap cameras. 99.99% of people will not be so lucky. Sure, for your own projects it does not matter but I am certain if someone was hired to do say a corporate gig and turned up with $227 point and shoot they might just tell you to sod off!

          You need to look at this from a wider perspective not just your experience. Your last paragraph is simply not reflective of the experience of the majority. Appearance (and i mean what the gear you are shooting on looks like) is still very important and only now are people starting to accept wholeheartedly DSLRS

          1. jodywick says:

            Next to our name and thumbnail image it should list # of dependents living in our house (a.ka. mouths to feed). Getting “paid” means different things to different people. For me it means being able to pay the mortgage, utilities and feeding my family, for the college or high school student it might mean getting to say “I shot a music video.”

            1. pbloom says:

              exactly, i am talking about proper paid work

    2. jodywick says:

      In video, the game is continually changing. Most of all, large studios once owned the market because of the high price of equipment. But now they have to compete with basically anybody. I work at a studio but also do work on the side. I stay on top of current trends. If you’re not willing to make minor investments and learn new gear then you are as outdated as your equipment. Video production equipment is just a commodity now, anybody can call themselves a videographer or editor, it will be your creativity and efficiency that sets you apart.

  26. Eccelent post, i totally agree to.

  27. dirtygenius says:

    First off, Greetings good fellow Bloom!!!
    I adore the dslr format of film-making. It’s creative , price affordable and very current. It appears a vast amount of professionals are using the format and i love it!!!
    GAME CHANGER!!! I’m new to photography and i feel it’s a wonderful time for me to be a novice! I look forward to the many advances and i welcome the constant learning and improvement to these devices!!!!
    Thanks for existing!

  28. cris.b says:

    Hey Phil,

    Last week, I was asked my a major manufacturer of ‘things’, to come and talk about ‘stuff’ with them. It was a very interesting day. They showed me prototype ‘things’..

    So, I’m dying to say something, but I can’t as I signed a ‘thing’.

    And so, of course, I’m not saying anything about your article, and cannot, of course make any comment to say if you’re ‘hot’ or ‘cold’ on anything.

    Anyhow, all this talk of such things has me all Hot under the collar… I must rest.

    Good evening, my dear fellow.

  29. Truestory says:

    I agree with all that has been said..
    I joined the dark side recently becoming a GH1(3) convert, and the images are truly staggering from this baby…I now have 4 hacked GH1s and use them daily in my production house..
    The downside to DSLR I can work around, as the images up on the 50″ LED studio monitor are remarkable, my clients are in love with the images and that is all that counts at the end of the day..
    I am currently shooting a docco for broadcast release and this is being shot entirely on the GH1s…

  30. Doug Hancock says:

    Re: your equipment for the latest Lucas film…..

    is that a cigar next to the intervelometer?

    1. pbloom says:

      oh yeah…a mighty fine Cohiba!

  31. Peter says:

    As long as we have video in DSLR cameras and sensors like the one in the 5D2 we will continue to shoot with DSLR cameras no doubt.

    The ability to shoot both stills and video with great quality is the thing with a DSLR. Let’s hope some of the more fundamental flaws get fixed in upcoming generations. I’m also not up to swap brand and buy a new set of lenses. That’s where the big investment is really.

    Thanks for being so into these cameras!

  32. Brad Bell says:

    I have been working for over a decade as an editor. I began shooting video recently after seeing footage from a Letus35mini+HV30. (Thanks, Phil!) I bought one and started shooting. More recently, the 550D/T2i was a big improvement.

    I think of an HDSLR as a digital film camera, rather than a video camera because it produces filmic images; image and sound are recorded separately, etc. In that context, an HDSLR is pretty convenient: a film camera without the film (or tape)!

    If I had to shoot on a HD video camera with a tiny chip, I would not bother shooting. I think being distracted by the texture of the wallpaper behind the speaker’s head is a very bad thing. Deep focus HD video typically produces an orgy of details that makes me feel like I’m being visually assaulted. It’s the ‘Las Vegas mall’ of moving images.

    I expect to be using HDSLRs for the foreseeable future. The video camera competitors are likely going to continue to be too expensive for quite a few years. (Unless, of course, I end up with tons of work and more money than time.)

  33. Andre says:

    i almost pulled a tear there! ;) Think about it guys…. We can say one day “we were part of this revolutionary era”

  34. Steve says:

    I get to use a lot of different cameras, especially Sony cameras, EX3 and EX PMW-350(great camera), but the results I really like are from a Canon 5D with prime L lenses. What is really missing is a decent HDMI output and then you could use a AJA KiPro and record to ProRes, on a hard-drive, and bypass the H.264 camera compression.

  35. Chris says:

    Great article Philip!

    I think a lot of people are using the term “fad” in a derogatory manner… which isn’t the best way to describe the evolution of affordable filmmaking equipment (from camcorders to 35mm adapters, DSLR’s, whatever’s next, etc).

    I can remember when 35mm adapters were just starting to become popular and everyone wanted one (myself included). Though just because affordable DSLR’s came along, doesn’t mean 35mm adapters were a fad. It just means something better came along.

    If technology hadn’t sped along at the pace it has (thank you Canon!), filmmaker’s on a budget would still be using 35mm adapters. It’s not like it was the hula hoop, and then we all got bored with it. People labelling one thing or another as a “fad”, should really just be thanking these companies for producing better, more affordable equipment sooner than we expected.

  36. IPBrian says:

    This is a fantastic post Phillip. I totally fit into this demographic…I would love to have an EX3, but I am more realistically saving up for a new DSLR body to start working with quality video. I totally agree this “fad” will be around for a good number of years!

  37. Shane says:

    Will the 5D Markii ever get 60fps?
    At times, I often consider the idea of trading in for the 7D because of this.

    1. pbloom says:

      99% certain it never will

    2. David says:

      Hey, Shane – I’ve had a craigslist posting in my area for some time looking to trade my 7d for a 5d m2. It’s a hopeless cause but cant hurt. love the 60 frames on my 7d, and I often wonder if Canon plans on releasing some amazing firmware updates for it. I’m also very excited for that Scarlet – although I’ll have to sell everything to afford it!

  38. Gustavo Ortenzi says:

    Philip, I agree almost in everything you wrote, just one point out :
    There is a HUGE amount of people who loves photo AND film (#6 parag.). Photographers who DO want to film with the same tool. I hope the companies be aware of that and continue to sell a line of great DSLR machines (and the obvious great quality and price consequence of the old photography market) with continuous improvement in the video area (alias, moire, rolling shutter … compression! the last for sure the big problem today).
    I am this person. I certainly accept to pay more.

    1. pbloom says:

      agreed but as the majority of uses are photogs who don’t want video that is the issue.

  39. Sam Evans says:

    Any thoughts on Magic Lantern for the 550D?
    The Pre-Alpha Firmware just came out, I think it’ll boot the camera up in the ranks of the HDSLR army.

    Link to Magic lantern/550D:

  40. vegar says:

    It’s actually possible to do a lot of the improvements only by fixing the software.

    First of all:

    – The Crop factor! There are no need for line skipping. If we get “lossless” a digital zoom, there are suddenly no need for a lot of lenses in video mode.

    – Aliasing/ moire / compression is just a question of being smart with the pixel data.

    – Noise reduction may be a good idea. The same goes for presets for the color curves that are compatible for prosumer workflows.

    – Sound is even easier. Just let us pick and choose what we need in each case. AGC is good for consumers, bad for pros.

    The only obstacle for is how much processing power the camera has. So for some expensive operations we may have to wait. On the other hand there are loads of cheap mobile chips that can do anything. Using a GPU (Graphics Processing Unit) may be a good idea to avoid heat/power issues.

    A smarted us of the pixel bandwidth may still help, since it removes some of the factors keeping the HDSLR back now.

    Expensive changes:

    To increase the dynamic range, any skipped pixel could be used for an extra video feed. One or two files containing extra information. Clipped color values. Such extra data could still be of use even is the resolution is lower. This may be some of the tricks RED MX use.

    Another trick is to smooth the image, but to keep the lost data in another file. Since 2 compressed files contain different types of information, the bandwidth needed for the same quality may be lower. This is the basic idea of wavelet data. Split smooth and sharp data. Compress “data layers” by themselves. It does not really matter if the data is in the same “image”. For instance a 4k feed. MPEG4 codecs tend to cope very well with insane resolution, even if the bandwidth is “limited”

    If the camera could output the data instead, it’s even better. What is the maximum “resolution” of a HDMI cable, for a 24p feed?

    Borrowing some of the ideas from Fuji Super CDD EXR may also be nice. Latitude will be a problem for a long time.

    Are there any information on the net about what RED MX really is?

  41. Blake Everhart says:

    i’ve always imagined canon making a hdslr line of cameras with a longer more “video camera like” body and more video functionality. basically a line of hdslr’s that are VIDEO FIRST and stills secondary…

    but i guess this blog is more about the tangible near future and not about fantasy. The scarlet will be great, but still out of my league

  42. LFK says:

    “I will say gimme a built in Nespresso coffee maker” –> LOL ! :D

    great post ; totally agree with you

  43. Misa Garcia says:

    what’s a scarlet?

  44. chad ross says:

    I think its cool that the camera companies are trying to please us with all these upgrades and such, but the point is you don’t have to own every piece of gear that comes out. if you get the quality you need for the job then who’s to say what’s better than what? in this day and age everyone has a budget, and i also believe that the smarter filmmaker will overcome what technology has to throw at them, we figure out how to make it work.

    good post philip! you always shine insight on the situation.

    chad ross

  45. Jon Chema says:

    Will we ever see RAW video on a DSLR?

  46. Phil Hinton says:

    I have only recently bought a 7D for the video work I do on a regular basis. It is nothing more challenging than shooting interviews at trade shows and showing new products. However, we have been using an HVX201E for the last two years. It has all the pro features (it’s a pro camera) but the main thing is the size and weight of the camera. Add this to the fact we do a lot of travelling and flying, the size becomes an issue. The other issue is the fact that, when people see the ‘big’ camera when shooting inserts outside in the street, it brings unwelcome attention. We were nearly mugged twice outside Bellagio on the Vegas strip.
    So we want something more suited to working fast, working light and not drawing attention. Obviously for the UK shoots we can use both and get the best of both worlds, but for trade show shooting, especially abroad, the size and quality of image wins us over with the 7D. Only issue is audio, but there are ways around this and in fact, with our radio mic checks, the in-built audio is perfect for show floor shooting.
    My only real concern is working fast with the edits. We are currently looking at changing our edit platform and laptops, and looking for a way to quickly get past the h.264 issue. I think premiere CS5 offers the best options here for us to work quickly, so if anyone has experience with this approach I would welcome their thoughts.

    Anyway, love your work Philip and thanks for bringing our attention to a very viable solution.

  47. Greg Lam says:

    I jumped on the DSLR bandwagon one month ago and am loving it. I agree with Phillip in that the still cameras will probably always have certain limitations that video people will not be completely happy with and that some of these limitations will never be fixed as they are still cameras.

    On the flip side, video cameras will get the bigger chips, will be able to achieve the look of current DSLR’s, and will be priced higher.

    What I’m curious to see is how much higher. How much will people pay for those pro upgrades that will be found in future video cameras?

  48. daniel c says:

    really great article. i read most, skimmed some. its a crazy time we are at right now for the digital film world. i am a film student and sold my xha1 in early april and have been saving ever since in hopes for the hdslr rigs. i am 8000 in so far and with all of the changes, i think its in my best interest to wait and see what happens eh philip? nice article, i agree with the future estimation here. i am also glad youll be updating us on the canon expo, having the money now for some serious gear(havent sold my m2e yet either), i would like to wait out for canon and see if they battle the af100. but canon is so slow!


  49. Doug Hancock says:

    nice choice!

    The best cigar shop in Amsterdam….

  50. Jean-Marie C says:

    Thanks Philip

  51. Brad says:

    I love all of this tech stuff as much as the next guy. But looking at the really big picture of the last 150 years of photography and film, it always comes down to the same thing in my mind. The PERSON BEHIND the camera. You put someone that has absolutely no eye and skill for photography/film behind a several hundred thousand dollar Panavision movie camera, and you’re not going to get brilliance. I think the same is true of that same person behind a phone camera. In the hands of a person who has talent and experience, better equipment/software can certainly up their game and build trust with clients. But PEOPLE and their skill, experience, passion and inspiration are the key behind any technology. Just wanted to make sure that gets added to the conversation.

    1. pbloom says:

      agreed. But this is literally a post about the tech, I don’t want to get sidetracked…

  52. “Students, indie filmmakers, event videographers and so many more simply won’t be able to afford these new cameras.”

    All very good but I have an interesting thought – 15 years ago event videographers could only buy expensive cameras because even the lower end cameras (We used the JVC KY-17 for weddings – shoot to S-VHS, edit to M2 with S-VHS cables) were expensive. We had multiple wireless mics, lots of lights, tripods with fluid heads, etc,… What has changed so radically in the business that suddenly event videographers cannot afford that level (cost wise) of gear?

    Surely the good ones are still making a decent living? Yes, the gear has gotten cheaper and better but I would think that they should still be able to pony up $15,000 for a camera and more for the kit and take it to the next level. “Cheaping out,” because the look is so good at that price is no excuse.

    My point is this – somebody (Sony, Canon, Panasonic) should be able to come out with a good video camera with video camera features but HDSLR abilities that uses prime lenses in a price range that a good event videographer can justify as we did “back in the day.”

  53. David says:

    A cigar is always part of my gear, also.

  54. Henry G. says:

    And now for the sad truth.

    As technology makes tools cheaper and cheaper, the market is getting flooded with more and more productions (in the millions!), at all levels: amateur, indie, low-budget, mid-budget.

    No market can absorb this, 10 times more offer than demand. 90% of cinema screens worldwide are booked by the majors for their own productions all year, the rest is for independent projects (which still need XPENSIVE distribution). Due to massive offer, it’s easier to win the lottery than getting a film into independent festivals. TVs are seeing productions in the thousands so they can pay 1/3rd of what they were used to, DVD market is saturated and piracy is killing it, etc, etc.

    THE SAME has happened to music. Cheap tools and technology have killed it. Nowdays, 95% records sell less than 5k copies (bankrupt), and those that sell must invest a couple of millions in marketing. Music is all now Myspace (“for the love of it”)

    The biggest problem nowadays (for video/audio/film) is DISTRIBUTION and getting noticed. You finished your last movie/docu/short. NOW WHAT? Another million others did the same.

    It is now more difficult to make a dent than it was 10-20 years ago. And you thought cheaper technology was liberating?

    1. pbloom says:

      i truly believe that quality floats to the surface. the talented shooters i know are busier now than ever. just because the tools are cheaper does not make the product good.

  55. stewart munro says:

    All I can say is the 7d and 5d saved bmx and skateboard film making!I had a sony vx 1000 with a death lens for years but i got over using tapes and got a hvx 200 and the only down side to it was the fish eye!You have to spend 0ver 3 grand just to get a good fish eye and that’s not counting the cost of the rails! lens –

    So then the 7d came out and so this this bad boy –
    So now i can get the same look at a hvx fish eye for 300 dollars on my 7d.
    Jason Hernandez’s DSLR handle is helping a lot too –

  56. Phil Hinton says:

    have only recently bought a 7D for the video work I do on a regular basis. It is nothing more challenging than shooting interviews at trade shows and showing new products. However, we have been using an HVX201E for the last two years. It has all the pro features (it’s a pro camera) but the main thing is the size and weight of the camera. Add this to the fact we do a lot of travelling and flying, the size becomes an issue. The other issue is the fact that, when people see the ‘big’ camera when shooting inserts outside in the street, it brings unwelcome attention. We were nearly mugged twice outside Bellagio on the Vegas strip.

    So we want something more suited to working fast, working light and not drawing attention. Obviously for the UK shoots we can use both and get the best of both worlds, but for trade show shooting, especially abroad, the size and quality of image wins us over with the 7D. Only issue is audio, but there are ways around this and in fact, with our radio mic checks, the in-built audio is perfect for show floor shooting.

    My only real concern is working fast with the edits. We are currently looking at changing our edit platform and laptops, and looking for a way to quickly get past the h.264 issue. I think premiere CS5 offers the best options here for us to work quickly, so if anyone has experience with this approach I would welcome their thoughts.

    Anyway, love your work Philip and thanks for bringing our attention to a very viable solution.

    1. Phil Hinton says:

      would be nice after making the effort that the comments made are published?

      1. pbloom says:

        I dI don’t quite know what you expect from me. I run this site alone. It is not my job. I do not sit at the computer 24-7 reading and approving comments. I approve them literally as fast as I can. I need to read everything first due to trolls and spam, hence no auto-approval. Depending on my workload and timing it could be a minute, it could be 3 or 4 days if I am away shooting. Today, if you want an excuse, was the London meet up so I was not in to read and approve your comment. If you want instant publishing of your thoughts then go to a forum, that is what they are for. This is a blog, a personal blog, not a corporate blog and I am only one man doing my best.


        1. Nick D says:

          Phil, thanks for the Years of sweat helping some of us parse thru the vast equipment options. I would also love to see your opinion on the usefulness of the Panasonic TM700K for 60p as anything other than a consumer cam or the upcoming 3D consumer Panasonic camcorder variant…

          I couldn’t pull the trigger on a DSLR since I’d rather wait for a proper Sony EX-3 replacement or the upcoming camcorders you mentioned here or next gen DSLR…

          Thanks again for keeping us informed…

          1. pbloom says:

            i have one and it’s ok…the 60p isn’t that great to be honest…

        2. Phil Hinton says:

          Apologies, my comment after this one was published straight away and I assumed they appeared straight away, or within seconds. When the above was not posted I thought it was being held for some reason. Now you have explained why I agree and I am sorry for my comment. Like I say, I love your work, have bought your tutorials on the 7D and am eager to be part of your community here. Sorry again.

  57. Sara Frances says:

    Hi Philip, So glad to read your opinions are the same as what we’ve been saying in our workshops. But then Karl and I have always been “fusion” imagers: the combination of still, video, art styles, sound in the manner of our choosing. The Mark II and the EX3 make an unbelievably satisfying and workmanlike collaboration. Hybid is just so much more jam for our bread. And yes, I am beginning to get paid for my iPhone editorial images…

  58. Jon Chema says:

    Philip your awesome! We realize it takes you hours to approve all the comments and respond to emails. Keep on keeping on- your site, posts, and meetups have inspired many people. Myself included!


  59. STR says:

    Great Article – pretty much spot on my thoughts.

    Like you Phil – I’ve always been a Sony video guy (touch of beta / dv / pd150 / Z1 / EX1 etc) until Canon changed video in 2008. I would love sony to come out with something – but I feel as though based on their recent events (Digital 35mm camera prototype / looks more like a red / Alexa competitor – 15-20k+ and their consumer ASC cam is pretty lackluster) – they may be leaving a gap in the middle market for now where a lot of their XD cam’s might get cannibalized… Hopefully they are developing something – in a decent size for a decent price – they definitely have the resources to make it seriously kick ass.

    Otherwise I’m all up for a 5dmk3 / 3D whatever – Based on Canons response to the 5D – something tells me they are really listening to the industry and are working on something soon. Few rumors going around – but hopefully a couple of announcements in the next few months.

    Scarlet , Canon 5Dmk3 / 3D , Sony Digi 35mm (mini) and maybe Panasonic offering’s will all make for a VERY interesting next 12 months.

  60. Francis says:

    I think DSLR’s may out evolve the video camera market, in my view they already have – because of what people are doing with them. The volume of great looking film coming out of DSLR’s is far exceeding what we were seeing with the Z1 up crowd.

    DSLR’s have destroyed the limitation of no budget to low budget being a limitation. Now its up to what we do with them.

    Hail the DSLR revolution. Viva DSLRS

  61. I started to work with DSLR in december 2008, I was maybe the first in my country to do this and from then until now I’ve been utilising sensor power in L lens combo. I tend to use L glass without aditional baseplates, matteboxes because they just slow me down and as it is, I still have a too much to carry around.
    Too much guys are just MEASURING and shooting too little…ok there are aliasing, moire is a common thing … so what… I can lend you mine DVCAM 450 that I paid round…err. 35000 USD with a 6mm lens … boy that was an idiotic thing to do. I am tryin to sell it for 15000 … to get a new steadicam to fly – DSLRs. Sick.

  62. Canon just needs to take the Vixia series, and slap on an APS-C sensor and interchangeable lenses. That would be great for me.
    No seriously, what they really should do is, update all of their cameras.
    Make an XH-A2, XL3, HV50, HG30, HFS300, etc with APS-C sensors, and interchangeable lenses.

  63. Nick D says:

    Aug 31st, Canon Introduces Two New Compact XF-Series Professional Camcorders: XF105 And XF100…

    And Everybody yawns…

    “Boo” to the Canon Pro Video department for repacking last years technology in a smaller package with only new 3D synch capability… and the same 1/3″ sensor…

    Are they so completely clueless about the last two years that this is the best they could come up with for Q1 2011?

    Have they no shame to be in the “Pro” Division?

  64. Robert D. says:

    I produce promotional videos, I also want to take a production video clips. I want to buy a new HD camera. I’m thinking of buying a Panasonic HPX 301 or the Panasonic AG-AF101. Currently working on an SD camera Panasonic AG-DVX100BE with SGBLADE (DOF Adapter). Please advice about which camera to buy? There is also a class of Canon lenses L. Is HPX 301 will work well with SGBLADE. Is just better to buy AG-AF101 and connect canon lenses? Then SGBLADE sell?

  65. Most discussions are still about the tools.

    Fact is,it is not about the tools it will always be about your personal skills, your ideas, concepts. That only matters.

    A skilled (media) person can shoot a nice story with whatever he put hers /his hands on. It should not matter if it is an iPhone 4 or a Sony F950. A skilled person would make a lovely clip because she/he knows the limitation of the one and the richness of the other camera.

    It is all about skills. Not the tools determine if you are a good craftsman.
    The reasson to choose a certain tool is becauce there might be a host of requirements. Every job requires a different camera. In my opinion someone that creates emotion with shots made by a Go Pro Hero or an iPhone as the only means of recording is a skilled person that I would trust with the most function rich expensive camera you can think of. If he/she can’t make it with such simple tools she/he is just not up to shooting with anything.

    1. pbloom says:

      without the tool you cannot do your job so discussing tools is still very important. Right tool for the right job…

  66. We shot the second part of our feature film ‘Monty’s Quest’ using a Canon EOS 550D and a range of lenses. The project was inspired by a group of students I teach on the BTEC National Diploma in Media Production, in Newry, Northern Ireland. We had a small crew and used separate sound (the camera sound was used just as guide track). We even made our of track and dolly system from waste pipe bought from B&Q and three mini skateboards (£5 each) spending less the £50. The most important aspect was to use what ever we had available to shoot the movie. This type of camera is making filmmaking so much more easier. Another important feature was that being a member of BECTU I had Public Liability Insurance with my subscription. I was then able to get Employer Liability Insurance through the same broker for £300 a year (£27 a month). The benefit to having these two insurance policies was that I could get into a range of different locations and all kinds of possibilities opened up. In the end the camera and sound kit (the latter bought five years ago) was only a fraction of the cost of what I managed to save through having the insurance cover.

  67. Nick D says:

    A little Scarlet Humor from…

    Thank you for the Scarlet Delays… Seriously, BUT you forgot 3D this year!

    What is the next year’s new & improved version of HDRx™? … HDRy (pronounced HDR-Why?)

    What happens when you bring a Scarlet to an EPIC shoot of models covered in honey? … B Cam (pronounced BEE-Cam)

    What is the forgotten Feature 21? … The ship date…

    But Seriously folks… In a backwords way, Red is actually helping potential non-Red customers get better cameras by promising better cameras and NOT releasing them every year… keeps the competition on their toes…

    Please keep adding new great features like HDRx™, SSD, 4K, X-Ray vision, Retinal scan, 1000000 ISO and 3D into the base package Scarlet spec sheet every 6 months, and NEVER release the cameras, so we can get better deals on other gear! However, it’s better if they try to drop the estimated Scarlet price every time, so the competition would react and deliver us 1080p Raw camera phones for under $1k next year- I’ll order two… Amen.

    It really has become a RAW deal for the other 50% who don’t need HDRx™, but you get what you pay for today- in this case, the best currently shipping non-Red alternative or a one week Red MX Rental…

    Hey, we might as well joke / laugh about the situation… after all, the Scarlet alternative is comparing “who has less moire for more money” this year…

    Last edited by Nick D; Today at 01:34 AM. Reason: forgot the punchline…

    1. Nick D says:

      Updated A little Scarlet Humor from…

      Thank you for the Scarlet Delays… Seriously, BUT you forgot 3D this year!
      Scarlet Humor…

      What is the next year’s new & improved version of HDRx™? … HDRy (pronounced HDR-Why?)

      What happens when you bring a Scarlet to an EPIC shoot of models covered in honey? … B Cam (pronounced BEE-Cam)

      What is the current shipping dimensions and weight of the Scarlet? … 0 x 0 x 0 “, 0.001 lbs (after all, human thought does have mass)

      What is the forgotten Feature 21? … The ship date…

      But Seriously folks… In a backwords way, Red is actually helping potential non-Red customers get better cameras by promising better cameras and NOT releasing them every year… keeps the competition on their toes…

      Please keep adding new great features like HDRx™, SSD, 4K, X-Ray vision, Retinal scan, 1000000 ISO and 3D into the base package Scarlet spec sheet every 6 months, and NEVER release the cameras, so we can get better deals on other gear! However, it’s better if they try to drop the estimated Scarlet price every time, so the competition would react and deliver us 1080p Raw camera phones for under $1k next year- I’ll order two… Amen.

      It really has become a RAW deal for the other 50% who don’t need HDRx™™, but you get what you pay for today- in this case, the best currently shipping non-Red alternative or a one week Red MX Rental…

      Hey, we might as well joke / laugh about the situation… after all, the Scarlet alternative is comparing “who has less moire for more money” this year…

      Last edited by Nick D; Today at 01:46 AM. Reason: forgot the punchline…