Drinking the RED cool-aid

I know that I have been on the fence for a long time about the RED camera (now cameras). But now that I am nearly finished with post on my Doritos Commercials (which were shot on the RED One) and with the announcement today of the NEW specs for EPIC and SCARLET, I have to say I really like the RED camera. Even this last weekend while I was shooting Precepts Motorsports pre-run the Baja 1000 for a reality show presentation, I was wishing that I had a SCARLET to shoot on.
I'm not the only one drinking the cool-aid; earlier this afternoon I was discussing current projects and eating yogurt with my good friend and cinematographer Paolo Cascio, who has been fairly anti-RED since it came out. However, he just shot a PSA on RED for Tyler Perry and is very happy with how the shoot went and how amazing the footage is. You can see the PSA on his website under the "Cinematography Reel" www.pchollywood.com
We both agreed (from a producing and operator/technical standpoint) you have to approach a RED shoot like a film shoot. It truely is a "Digital Cinema Camera" not a video camera. If you try to schedule a video shoot, you will be very upset when you get behind schedule on your first day. Not to mention that when you get to post, the process is not as easy as popping in a P2 card and opening the log and transfer window. Like I just said, imagine it's film, only you dont have to ship it out to a lab for transfer, the first part of your post process is doing the work of the lab - and this is also where you start saving money because you can get these beautiful dalies in the comfort of your favorite edit suite.

Brandon Lippard Opperating the RED ONE Digital Cinema Camera for Doritos Spec Commercial