Is 2/3" going to be enough?

[James Miller]

Once the punters are sitting in the theatre/loungeroom, none of this stuff matters at all. Is the story compelling? Do the images tell the story? I've done a number of edits recently shot on both 5Ds and RED Ones, and whilst they all "looked cool", none of them really did a very good job of conveying the narrative, because the DP had pretty much made himself a kick ass showreel instead of empowering the director to tell the story. If it suited the story, you could use a VHS-C camera. Not sure how many stops they have..........

This is becoming just like the AVID v FCP arguments, when people are watching the stuff we all make, they just don't care, what they care about is the story, the photography is there to serve the story, it isn't the story in and of itself.
I am hating dealing with 5D footage though. H264 is a great delivery format, not so much on the production side.

To me, the 2/3 Scarlett is kinda like a digital 16mm cam, not suited for everything, but very versatile, smaller than a 35 and produces images that can tell a story in an aesthetically pleasing way. Different to 35, or full frame, but does that make it worse? I think that would be an opinion surely.
I love the shallow DOF look, but I have to say (as have a few clients) I'm getting over it at the moment, especially the 5D stuff, that seems it's only trick.

[Jay Gannon]

Another massive market for Scarlet is the Sports and in particular the skating market, these kids have been spending thousands on tricked out FX-1's HVX-200's etc etc which have no over-crank and low quality... 120fps @ 3k is exactly what they want.

And the professional sports market is massive, I know I'll be making some climbing documentaries with mine, lightweight, over-crank, nice fixed lens (I aint changing lenses on a wall unless I really have to) perfect for that market. Small enough that underwater/splash housings wont cost the earth. Light enough that it can be put on a suction cup system on a kayak. Lots of very very large plus points for the sports documentary shooters. And 2/3'd is a plus as you want deep focus when shooting this type of thing for the scenery and context and because its too fast moving to try and mess around with shallow DOF.

[David Rasberry]

Another massive market for Scarlet is the Sports and in particular the skating market, these kids have been spending thousands on tricked out FX-1's HVX-200's etc etc which have no over-crank and low quality... 120fps @ 3k is exactly what they want.

And the professional sports market is massive, I know I'll be making some climbing documentaries with mine, lightweight, over-crank, nice fixed lens (I aint changing lenses on a wall unless I really have to) perfect for that market. Small enough that underwater/splash housings wont cost the earth. Light enough that it can be put on a suction cup system on a kayak. Lots of very very large plus points for the sports documentary shooters. And 2/3'd is a plus as you want deep focus when shooting this type of thing for the scenery and context and because its too fast moving to try and mess around with shallow DOF.

Nature docs are well suited for 2/3" too. The cinema version will support very long telephoto lenses and zooms that are much smaller,lighter, and faster than anything available for 35mm. There are many genres and shooting styles other than narrative fiction that a digital 16mm equivalent is much better suited for than 35mm.

[Stuart English]

Agree 100%. Scarlet 2/3" is going to have a very busy future ahead of it both within, and outside of, cinematic style storytelling.

[Radoslav Karapetkov]

It will be great. :)

[Stefan Christou]

"Is 2/3" going to be enough?"

Whatever

</flame>

[Stuart English]

To me, the 2/3 Scarlett is kinda like a digital 16mm cam, not suited for everything, but very versatile, smaller than a 35 and produces images that can tell a story in an aesthetically pleasing way. Different to 35, or full frame, but does that make it worse? I think that would be an opinion surely.

I love the shallow DOF look, but I have to say (as have a few clients) I'm getting over it at the moment, especially the 5D stuff, that seems it's only trick.

I agree, shallow DOF has its place, but like previous visual trends - page turns for example - it'll be used everywhere then become boring.

Picture quality though - resolution, dynamic range, color fidelity - is a constant need.

[David Rasberry]

Picture quality though - resolution, dynamic range, color fidelity - is a constant need.

Hopefully this is where the little Scarlet will truly shine.

[Marcos Luger]

Why when comparing 2/3 vs some other format always comes down to DOF ?

So I have one question:

If a take a shot with a 2/3 and a S35 Scarlet, exactly the same framing, exactly the same DOF, both with the right exposure, both downconverted to 1080, will the 2/3 image look less "cinematic" ?

[Brigham Edgar]

Q: Why has the DSLR craze been so popular and hugely successful?

A: Price and DOF!

I for one use 2/3" for the majority of my work and of course there will be a big market for Scarlet 2/3" outside of cinema and as well in, there is no denying or debating this especially if there is a B4 mount for HD television lenses. But for feature film etc I can't help thinking that if it is low budget and also new film makers that will be the primary sales base that the above two reasons will keep a huge amount of people going down the DSLR route. Getting the shallow DOF is just too huge of a deal for a lot of people and there is no denying it. Why else would they be so popular and get people shying away from established 2/3" cameras...price and most importantly DOF. 2/3" is certainly viable and will have a position in the market but i am willing to bet 100% right now that whatever happens, we will see s35 and ff35 size sensors to be where it is at for this market...period. The proof is already here. If RED were to release a ff35 Scarlet at the same time i would bet by money on the ff absolutely overwhelmingly being more in demand. What's more i cannot see many people trading in a 7D or 5D for a 2"3 sensored camera. But i can see them waiting for a s35 or ff brain to be released then getting on the DSMC wagon with their already well worked stills lenses to bolt on to them...but 2/3"...forget it...they will wait and who can blame them as i would do the same.
The lower end (budget wise) mass market has spoken well and truly.