In 2010 I said goodbye to my small coastal town and headed to the nearest university that offered a filmmaking<\/strong> course. In current western culture, it’s a common notion for first-year students to spend the majority of their time partying, drinking alcohol, and making social memories to last a lifetime, with little studying.<\/p>\n I, however, would spend countless nights tucked away in my living quarters spending hours browsing Vimeo<\/strong> and YouTube<\/strong> looking at RED<\/strong> footage. The RED<\/strong> SCARLET<\/strong> was about to drop in the next year, and all I wanted was to have one. For what reason? I wasn’t too sure.<\/p>\n However, I knew I needed a cinema<\/strong> camera<\/strong>, a professional industry working cinema<\/strong> camera<\/strong>, not a high-end prosumer camera like the c300<\/a> or Blackmagic URSA<\/a>\u00a0(even though they were not out back then). I needed something that was used for feature<\/strong> films<\/strong> and episodic<\/strong> dramas<\/strong>. I had to have my footage to look the same as Hollywood.<\/p>\n Even though multiple factors contribute to the appearance of that cinematic image \u2014 art directors, colorists, lighting technicians, costume department, the $150,000 lens attached to the camera \u2014 I still wanted one. Although the RED<\/strong> ONE<\/strong> was priced at $25,000, it did not seem like an unobtainable amount in comparison to something like the ALEXA from ARRI. After two years of saving and trading in my then camera kit, I may very well have enough. It was a possibility<\/strong>, not a dream.<\/p>\n I imagine many new and aspiring filmmakers have had the same dream: Owning a RED<\/strong> or an\u00a0ARRI\u00a0<\/strong>or any of the new lines entering the high-end market each year. It’s common for people to want something for the sake of wanting it, and not needing<\/em> it. I remember watching\u00a0Blood on My Name<\/em><\/a>\u00a0from Whitestone Pictures in 2011 Immediately after watching the short film, I checked to see if there was a behind-the-scenes video. Luckily, there was.<\/p>\n Despite there being more than a dozen talented crew members,\u00a0professional lighting and grip gear, \u00a0Sean Bridgers<\/a>\u00a0and\u00a0<\/span>Justin Welborn<\/a>\u00a0(two working actors in Hollywood), all I noticed was the ARRI<\/strong>. “Ah,” I thought. “That’s why it looks so good. I too need a cinema camera.”<\/span><\/span><\/span><\/p>\n![\"Do](\"https:\/\/pbblogassets.s3.amazonaws.com\/uploads\/2016\/07\/RED-Weapon-1024x537.jpg\" "\\"Do")
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