Canon T2i with L Glass vs RED Camera

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You're spot on, HDkilledFILM, sorry if I got snarky. A DP has some control over the storytelling, but not the story itself and should just walk away from a weak screenplay.

And I also must consider that many, such as yourself, are double or triple threats and control many aspects of the films they work on.
 
But never forget that not that long ago some of us idiots where producing some pretty compelling stuff with our DVX's and we were being told again and again how that doesn't compare with a Cinealta.
Well, see, that's the thing -- I've been on that path and I very clearly remember the steps. That's what I'm trying to help people circumvent!

I've got 37,000+ posts on this board. I think someone should go through and do an analysis about what those posts were about. I think 36,000 of them would be answering questions and advising folks on how to navigate the minefield of the entertainment business so that they can succeed.

I did what people do here -- I flew off the handle, I went to the Hollywood 2-day film school and got all jazzed up, we made a "feature" film, it was horrible, it went immediately to obscurity, and it was a profound waste of time and effort. So, of course, I immediately tried again and made another horrible unwatchable film (but this one was under someone else's direction, so I can at least claim that I knew it was awful and couldn't do much about it). But yeah, I figured out early on that the path of "just grab a camera and go shoot and don't let anyone ever tell you to stop dreaming" is a line that sounds good in theory, and leads to crap crap crap. And I've volunteered, assisted, and worked on dozens and dozens of those same productions and seen them go the exact same place.

And it doesn't have to. There are people who have walked this path before, who can guide and assist, if people would only listen.

But, ChuckS, you're right -- and Blaine, you're doubly right, it does sound like teenagers.

So, hey -- those who want to learn; we'll be here for you. Heck, I personally have invested close to $100,000 in projects for various DVXUser members, for those that I think really have "it" and are close to breaking out.

But for those who can't be taught anything, who just want to go and do it their way -- well, go ahead, go and do. And show us the results; we are always interested in hearing about production diaries and results. If you do manage to blaze a new trail, share it with us.

But one thing we will not stand for is trolling, and another thing we will not stand for is personal attacks. This forum is first and foremost an educational resource, and simultaneously it is a community. Trolling and personal attacks have no place here.

The people these kinds of debates take a toll on are not the ones asking if I can shoot a feature film with a Panasonic TM700 (which are really cool little camcorders by the way), but the people who should know better than to even explain this yet again.
Again, you're exactly right.
 
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Yeah, it is a very ruthless cycle and taxing. Most filmmakers are hard-headed, anyway. You just need to let them break their legs before they get the point.

I had to go the same route, so be it.
HA! Okay, not only is this exactly correct and what I'm coming to accept now, but -- I specifically remember going round and round with Kholi, and I remember the day, and the e-mail... :D
 
Can we not have a technical discussion about gear without story always being dropped in.
This is very true -- and this is how this thread started out. But how much technical discussion can there truly be, between a $799 consumer DSLR, and a $17,500 dedicated digital cinema camera? Isn't that discussion kind of "over and done in one"?
 
What lenses would you be using on the RED? Am I the only one that thinks that this is gonna be about the glass? I feel like most perceivable image quality differences (in terms of aesthetics) depends on the glass...technical image quality differences (which can easily bleed over into aesthetics) depends on the camera.

I would probably consider nicer glass for the T2i before considering the RED...I bet some of those new Zeiss Compact Primes would look great on it. I mean yeah the RED is a much better camera than the T2i...but that doesn't mean your footage will always look better to a person.
 
LOL, this seems like such an easy decision! I think everybody just likes to argue!

Obviously the Canon is good enough to do a music video job -it's not going on the big screen so who cares about the codec, charts, etc. It's way good enough for HD TV. See House, SNL intro, Etc. You're more familiar with it.

So... just shoot on the Canon. Why do you even need to ask?
 
You're spot on, HDkilledFILM, sorry if I got snarky. A DP has some control over the storytelling, but not the story itself and should just walk away from a weak screenplay.

And I also must consider that many, such as yourself, are double or triple threats and control many aspects of the films they work on.

Don't worry about it brotha, I'm just stoked on film making in general! Plus we're all in the same boat, I'm on these boards reading becuase I LEARN EVERY SINGLE TIME I DO. I'm in no way as savvy as I should be and I considder these boards a resource which I can get nowhere else. Cheers!
 
User friendly T2i / 7D / 5D

User friendly T2i / 7D / 5D

Which is less complicated to shoot with --- T2i / 7D / 5D
Or to rephrase which camera is user friendly to shoot video for a starter

Which camera gives best output -- keeping the talent factor constant
Can someone please suggest any source material to rely on.
 
At the end of the day and my final post in this thread was not that any HDSLR camera was better than the RED or Film camera but more on that the image quality definitely looks amazing and can hold it's own against the big boys as shown in the examples I posted. "City Of Lakes" looks amazing and that is the bar now I need to reach............

Why did you even start the thread then? B/c it looks to me that your responses throughout are indicating that your only purpose in posting it was to validate the t2i against a RED, b/c any time anyone points out that the RED One is actually a better camera, you are the one who seems to be getting defensive about it.

If I'm wrong about that, then my bad... but, when someone took the time to shoot it to you straight from their own personal experience, you shot them down and now begin making what essentially amounts to personal attacks against them.

Even to the point of putting words in the mouth of a well-established member here, who is a working professional, and who was at the forefront of the very movement you are attempting to defend.

And, I don't recall him ever saying that you could not get some absolutely gorgeous imagery out of the dslr's. Anyone with two working eyes and the use of their mouse and keyboard can see this.

However, pointing out flaws in the DSLR's (or in the RED for that matter) is actually a GOOD thing. So, when someone tries to tell you that you should avoid shooting in X situation with your t2i (or gh1, or 7d, or RED), if you don't heed their advice, and end up with some nasty aliasing all over your footage, or partial exposure of strobe lights in your music video, etc, etc... make sure you ignore them and get defensive b/c they're just bashing your camera (sarcasm).

You wanted someone to tell you that the t2i is a great camera and you don't need to shoot on RED. Ok. t2i is a great camera (for what it is) and YOU don't need to shoot on RED. Sounds like you just need to get out there and shoot and figure this stuff out for yourself, b/c if someone offers a viewpoint counter to your own, you start making things about the poster, rather than the content.

And, if you make all your decisions based on compressed web video, you might be in for a surprise or two when you start in on those paying gigs.

It would be in everyone's best interest to stop being so damn emotional and protective over their gear, and start learning everything you can about it, so you can make the most of it. You don't need to justify your purchases to anyone. It's the finished product that matters in the end.

I've seen a bunch of compressed web video of some really shitty work shot on dslr's and RED alike. I've also seen some pretty stellar work from DSLR's projected on a big screen at 1080, and some amazing (and high-profile) work on the big screen in 4k shot on RED. Obviously, the tool is not the common denominator, here... It's talented and knowledgeable people who know how to get the best out of it, and who have taken the time to do their homework.

No one can tell me anything now , BARRY, KHOLI , or even Steve Speilberg himself

Glory, glory... You've seen some compressed web video from very talented folks, and that's all that matters, damnit :) Logic, reason, or the opinions and viewpoints of those who have walked in the shoes you are attempting to walk in be damned. I'll take kholi with a dvx over some random Joe with a RED and no experience any day of the week.

You take in all the information you can, soak up all the various viewpoints (of people who actually do have experience with what you are asking) and make your decision. Do it, and don't look back... And, leave out the jabs against other members of this board who are trying to help you in the process :)
 
Glory, glory... You've seen some compressed web video from very talented folks, and that's all that matters, damnit :) Logic, reason, or the opinions and viewpoints of those who have walked in the shoes you are attempting to walk in be damned. I'll take kholi with a dvx over some random Joe with a RED and no experience any day of the week.

My last platitude, honest, its the iPod generation, they can create a mean play list but if you give them an "album" they won't know what to do with it and if it breaks they won't know how to fix it. :violent5:

Wisdom is the power to put our time and knowledge to the proper use. You know threads about why its not a good idea to edit H264 natively and "Does the Tokina 11-16 make my butt look big?" :shocked:

P.S. sorry, but I found this amazing at a time when I(we) start talking about quite possibly looking beyond the technical discussion the thread changes and starts to compare the quality of the Red One to the latest release. Really, isn't there another forum for that? :Drogar-Sick(DBG):

Just a though (I'm getting into this smiley thing) :love4:
 
I disagree. Filmmaking is STORYTELLING, and if you have the talent for doing this, you will be noticed. I know you're a big PRIMER fan (super 16), and let's face it, a DSLR will give you just as good if not better footage than what Shane Caruth shot. But he knew how to tell an original story better than most.

I'm flattered (once more in this thread) that someone actually knows stuff about me. I am a massive PRIMER fan and, trust me, I always think about what Shane would've done with the tools we have today. I can't speak for him, but I wager/guess that he would've probably shot with 16mm anyway, and today 16mm Film is even CHEAPER than it was when Shane Shot and better.

There were several options for digital imaging that were just as "good" as 16mm at that time that Primer was shot. He still chose to shoot film and scrap for it.

In the end, I think he made the best decision.

As much as people want to believe this industry is about story-telling, it really is not. First and foremost, it is a business. That means you need to be a business man and/or woman if you want to survive here. Second, it's about ideas. You don't need to be a great storyteller to have great ideas. You only need to watch the BTS of movies like DAYBREAKERS for this to really hit home.

For those who don't know about the Spierig brothers: they shot a movie called UNDEAD (australian) with whatever they could raise and ended up selling it to Lionsgate. Afterward, they sold the idea of DAYBREAKERS to Lionsgate... off of a sixteen page treatment... which ended up being NOTHING like the final product.

So, no, it's not about storytelling, to be honest. If it were? There wouldn't be an industry, because industries don't survive on idealism and truth, they survive on business models and numbers. If you want to be a true artist, pick up a paintbrush. There's little industrial influence in that, just be ready to survive on beans and weiners the rest of your life.

Which brings me to the next part of your statement:

I think the problem most DPs have is they lose objectivity on what the audience is happy with. Sure, if you compare a t2i image against a red image the red will win, but who ever does that in the real world?
The people who are going to make your life better by giving you one point five mllion dollars (1.5Mil) for your feature film. The same people that'll fund your next one that you'll probably shoot on an F35 or 35mm if you're really lucky, with a budget of 20 to 30 million.

The Spierig brothers shot UNDEAD 16mm FILM. Again, there were other options available at the time that could achieve very nice results. Consider that one of the highest grossing christian films FIREPROOF was shot on Varicams, and Varicams have been around forever. Still, both Shane and the Sperig brothers choose 16mm Film.

The audience doesn't pay you, execs do. Execs get paid by audience and popcorn sales. The audience merely helps those execs decide if you're going to get another shot at this, and sometimes even the audience doesn't have a say so in that.

When I say that you need to put your best foot forward? I mean you need to play ball like Michael Jordan. Because, there are hundreds upon hundreds of tall, lean, mean ball playin' machines in the NBA.

How many of them do you know by name?
 
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HA! Okay, not only is this exactly correct and what I'm coming to accept now, but -- I specifically remember going round and round with Kholi, and I remember the day, and the e-mail... :D

Haha! I remember that as well. The good thing is that I don't let my pride interfere with progression: if I am wrong about something, I'll openly admit it and apologize.

I didn't go to Filmschool (although I wish I could have afforded to do so), DVXuser was and still is my classroom. Everything I know falls between this site and some of the greatest mentors I've had in my life here in Los Angeles.

I'm with Barry: it's ALMOST confusing why people don't want to listen to the ones that have already been there and done that?

But, I'm still young enough (yeah, that's a jab at Barry >:D) to remember how I refused to listen to the lessons my mother tried to teach me about life before I went and committed idiocies; you just have to let them find out the hard way.

I am glad, however, to see that some people in the thread are finding information valuable and helpful. I don't feel like I was arguing at ALL, but I'm sure it could come off that way!

GOtta learn to just let well enough alone.
 
Why did you even start the thread then? B/c it looks to me that your responses throughout are indicating that your only purpose in posting it was to validate the t2i against a RED, b/c any time anyone points out that the RED One is actually a better camera, you are the one who seems to be getting defensive about it.

If I'm wrong about that, then my bad... but, when someone took the time to shoot it to you straight from their own personal experience, you shot them down and now begin making what essentially amounts to personal attacks against them.

Even to the point of putting words in the mouth of a well-established member here, who is a working professional, and who was at the forefront of the very movement you are attempting to defend.

And, I don't recall him ever saying that you could not get some absolutely gorgeous imagery out of the dslr's. Anyone with two working eyes and the use of their mouse and keyboard can see this.

However, pointing out flaws in the DSLR's (or in the RED for that matter) is actually a GOOD thing. So, when someone tries to tell you that you should avoid shooting in X situation with your t2i (or gh1, or 7d, or RED), if you don't heed their advice, and end up with some nasty aliasing all over your footage, or partial exposure of strobe lights in your music video, etc, etc... make sure you ignore them and get defensive b/c they're just bashing your camera (sarcasm).

You wanted someone to tell you that the t2i is a great camera and you don't need to shoot on RED. Ok. t2i is a great camera (for what it is) and YOU don't need to shoot on RED. Sounds like you just need to get out there and shoot and figure this stuff out for yourself, b/c if someone offers a viewpoint counter to your own, you start making things about the poster, rather than the content.

And, if you make all your decisions based on compressed web video, you might be in for a surprise or two when you start in on those paying gigs.

It would be in everyone's best interest to stop being so damn emotional and protective over their gear, and start learning everything you can about it, so you can make the most of it. You don't need to justify your purchases to anyone. It's the finished product that matters in the end.

I've seen a bunch of compressed web video of some really shi*ty work shot on dslr's and RED alike. I've also seen some pretty stellar work from DSLR's projected on a big screen at 1080, and some amazing (and high-profile) work on the big screen in 4k shot on RED. Obviously, the tool is not the common denominator, here... It's talented and knowledgeable people who know how to get the best out of it, and who have taken the time to do their homework.



Glory, glory... You've seen some compressed web video from very talented folks, and that's all that matters, damnit :) Logic, reason, or the opinions and viewpoints of those who have walked in the shoes you are attempting to walk in be damned. I'll take kholi with a dvx over some random Joe with a RED and no experience any day of the week.

You take in all the information you can, soak up all the various viewpoints (of people who actually do have experience with what you are asking) and make your decision. Do it, and don't look back... And, leave out the jabs against other members of this board who are trying to help you in the process :)

Well put Jason. I was gonna say something similar, but I was going to add that you mods should change his "Member" status to "Little *****".

Yes, I went there. :D
 
... but I was going to add that you mods should change his "Member" status to "Little *****".

Yes, I went there. :D

You don't need to go there :)

That's the main reason why I am quick to close down "this vs. that" threads. They are often too quick to turn personal and slow to remain productive/meaningful.
 
I didn't go to Filmschool (although I wish I could have afforded to do so), DVXuser was and still is my classroom. Everything I know falls between this site and some of the greatest mentors I've had in my life here in Los Angeles.

I'm with Barry: it's ALMOST confusing why people don't want to listen to the ones that have already been there and done that?


GOtta learn to just let well enough alone.

5 or so years ago, DVXuser was my Filmschool. I got a DVx100 didint know what 24P was, and Barry green told me like it is...

I had never shot anything, and was confused. I Asked, PD150? DVX? XL1? barry said Dvx for 24p, better color rendition ETc.. .but i went "WAaaaaaah! interchangeable lenses...." he said, "no kid its better because: XYZ and the progressive versus interlacing...."

And i sat and i LISTENED to barry green.... someone who had more experince than I did. I then wanted to learn more, and i Became 1st AC for a great DP, Tim NAylor, and i LISTENED AND LEARNED.... And you know, what? learning from the experince of others, i was able to apply their knowledge to work on projects from feature films, to commercials, to musicvideos, to shooting art pieces for installation artists.... using everyhting from a VHS camera, DVX100, Hvx200, EX1's, 35adapters, HDSLR's, RED's, Arricam 35mm systems, 16mm systems, F900, F23, Varicams, etc.... And you know what.. i only own one of thoes cameras. canon 5D. Not for Video... for photos. ( though i do use it for video as its popular amongst producers)

If you stop, look, listen, and get a job ACing, you will learn how to do what kholi does. What barry green Does, what Phil Bloom Does, what Khalid Mohtaseb Does, What Tim Naylor Does and what i do for a living.

I think people Reject the experince of others as it means they will the nhave to learn, and they cant get that from thier Iphone, wikipedia, or absorb it in 13min from an online tutorial. WORK is the basis of all sucess. talent just helps a little.
 
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