Freyburg

RED, the creators of the RED ONE camera that’s revolutionized digital filmmaking, recently announced two new cameras, the RED Scarlet and Epic. Essentially these two cameras operate as a modular “brain”, with an almost infinite choice of attachments that extend the camera from a fixed-lens shooter to a IMAX level behemoth capable of shooting 28k pictures.

The only problem with this panacea is that the original Scarlet, announced last year and them shelved, was a planned “3k for 3k” wonder camera that would have taken the prosumer and DV Rebel world by storm. Instead, low end users would have to shell out something on the order of $7,000 or more to build a suitable camera for their needs. That figure simply isn’t in the budget of many indie filmmakers.

Even more mysteriously, RED has announced that even more info will be released on December 3rd. It remains to be seen if lofi auteurs will be elated or disappointed in a few days time.

Here’s the demo reel for my video production company, Freyburg Media. Just a sampler of the stuff I’ve worked on and the skills I can bring to a corporate video, podcast, or broadcast television segment.

Freyburg Media 2008 Demo Reel from Warren Frey on Vimeo.

Canon HV20/ Letus Extreme mini test HD from Philip Bloom on Vimeo.

Wow. I have this camera, but not the lens adapter. Still amazing to see what tis little $1000 wonder is capable of. Check out Philip Bloom’s other stuff on his blog and his Vimeo page (he normally shoots with an EX1 or more recently, an EX3).

RED, the company created by Oakley founder Jim Hannard, has sent the SCARLET back to the woodshed. Why? Apparently the emergence of DSLR cameras like the Nikon D90 and the Canon 5D MkII that can shoot in HD (though in the case of the 5D, at the indie-unfriendly frame rate of 30p) has forced RED to rethink what they’re trying to accomplish in the prosumer video space.

Honestly, it’s about time all camera manufacturers took a step back and figured out how to merge SLR and HD video in a package that serves both filmmakers and photographers. There’s no reason, with the emergence of fast and plentiful hard drive space, huge memory cards for on-camera storage, and lens adapters that already graft SLR lenses onto HD camcorders, that a new class of camera shouldn’t emerge that doesn’t follow the old paradigms of tape-based shooting. The 5D and D90 are an important first step, and RED’s backtracking looks to be the next step in a saga that I’ll be very interested to see come to fruition.