C200: C200 more filmic than Red One MX?

If you were to do a simple Lit interview shoot with a Red1 Mx and then with a C200, I'd bet you would be wondering to yourself afterwards, why you were even bothering to consider Red one. The DSMC 2 Reds can make some really nice pictures, but the level of nerdy complication with accessories, expensive proprietary media, batteries needed, and the cost of those things makes for a completely different level complication. A Red anything won't make you any better at lighting, framing, composing a shot, and nether will a C200. A C200 would, I'll bet reduce the complication in your shoot day and allow you to focus less on the camera stuff and more on the shot making.
 
Agreed. I shot a feature for Syfy Channel a few years back on my (former) Red One MX. Amazing images. Needing to build a RED package in the field is not that difficult but it’s more trouble than it is worth when you are shooting documentary, reality tv, etc. It is hard to move fast with a RED package...even DSMC2. However, If I were shooting a feature film with a legit crew I would choose RED Gemini or Monstro for the absolute best image.

Mark Smith said:
If you were to do a simple Lit interview shoot with a Red1 Mx and then with a C200, I'd bet you would be wondering to yourself afterwards, why you were even bothering to consider Red one. The DSMC 2 Reds can make some really nice pictures, but the level of nerdy complication with accessories, expensive proprietary media, batteries needed, and the cost of those things makes for a completely different level complication. A Red anything won't make you any better at lighting, framing, composing a shot, and nether will a C200. A C200 would, I'll bet reduce the complication in your shoot day and allow you to focus less on the camera stuff and more on the shot making.
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AlkaliDigital said:
Agreed. I shot a feature for Syfy Channel a few years back on my (former) Red One MX. Amazing images. Needing to build a RED package in the field is not that difficult but it’s more trouble than it is worth when you are shooting documentary, reality tv, etc. It is hard to move fast with a RED package...even DSMC2. However, If I were shooting a feature film with a legit crew I would choose RED Gemini or Monstro for the absolute best image.
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Valuable feedback from everyone here...
 
I like the Red DSMC2 cameras IQ wise and Totally agree that if you have a support crew, an AC or two to manage needed gear and support the camera department, Red is nice.
I don’t get why comparing a C200 and Red in general is even a thing. Sure they are both cameras but designed with different purposes in mind, never mind the price difference in putting together a functional Red Raven package vs a functional C200 package.
 
Depends what you mean by filmic, if you mean "looks like film color and contrast wise", both cameras are video cameras but in post you can make both cameras look more like film. If you mean by filmic "looks like a professional movie", the camera is just one part of the whole, lenses, lighting, costumes, set colors, make-up etc, are factors as well.
 
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I finally got round to watching "Blue Ruin" the other day, simply bacause it was shot on a C300mk1 with canon L series lenses. If i didn't know it was shot on a canon, i would have guessed Red or Alexa, as it just looks like a "normal movie". I forgot about which camera was used about 5 minutes in, and just watched the film.

I think the days of whether a camera is good enough or not have been over for some time now. Red, Alexa, Canon, Sony, Blackmagic, 5D, GH5 or Iphone... it doesn't matter anymore. I've been one of those guys asking this for years now. Is this camera good enough? Is this camera better than that camera? If i only had one of these... i wish i had one of those... if only that one was more affordable. People who want to make films just do it, they don't make excuses. Me, well i'm just waiting for that next camera that will do everything, then i'll make my movie... maybe... unless a better camera gets announced :)

I swear, David Fincher could finish his next movie and then give me all his equipment and i still wouldn't be able to make anything good. It's not the camera that makes the film, just ask Steven Soderbergh. He shot his last movie with the camera we all have in our pockets.

Sorry for preaching, i think i just needed to tell this to myself. It's been about a decade now since i first wanted a Red One, and i still dream of that next great camera :)
 
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