Anyone else notice something special about firmware 3.3.3 for Scarlet....

[Mike Tiffee]

Does this mean no more black bars when recording with the KiPro Mini or the Sound Devices Pix 240? That would be rad.

That was fixed a couple of firmwares ago.

[Clint Lealos]

That was fixed a couple of firmwares ago.

Looks like I gotta try that again! Thanks :)

[Mike P.]

What happens when you hit record on the camera? Does the SDI jump back to 4k crop or does it maintain the clean "5k" look around? I'm confused as to how this could work in practice... Too bad you couldn't record 4k or 5k over 3G-SDI (like the C500 or FS700?), because then we'd essentially get access to the full sensor/full resolution recordings.

[Bob Gundu]

I'd look at the other way Mike. It's one of the few cameras that can record 4K internally without the additional cost of external recorders.

What happens when you hit record on the camera? Does the SDI jump back to 4k crop or does it maintain the clean "5k" look around? I'm confused as to how this could work in practice... Too bad you couldn't record 4k or 5k over 3G-SDI (like the C500 or FS700?), because then we'd essentially get access to the full sensor/full resolution recordings.

[Lee Saxon]

I don't think he was saying he'd prefer an exernal-only 4K camera (ie FS700) over an internal-only 4K camera (Scarlet), merely that he wishes Scarlet did both.

[Mike P.]

Ha, yeah. I obviously prefer internal and REDraw, but it'd cool to be able to get the entire 1.3x 5k sensor supersampled 4k even if you had to record externally. 5k Resolution is awesome, but using the entire FOV of the sensor is more awesome.I still dont know how this could be functional in practice.

[Uli Plank]

Well, as long as 1080 ProRes HQ is good enough for you, you should be fine. After all, many folks shoot that on Alexas…

[Dane Henry]

Yes, when you hit record the signal out the SDI keeps the look around, which gives you the full FOV of the sensor.

I much prefer shooting RAW, but it's not always up to me, I have already ran in to clients (all have been sports broadcasters...) who would rather shoot other camera systems due to not having the ability to deal with R3D in a timely fashion. I purchased an external recorder for ProRes deliverables (Samurai is soon to be DnxHD as well), I bake in a bit of a look, and the clients have been stoked. I primarily shoot specialty/feature for them not sports coverage, the client doesnt want to shoot on an ENG cam because they want the cinematic look but they also very often have quick turnaround times, it's been awesome to be able to keep them on RED because of the ability to go straight to an editable codec. These are jobs that would have gone to the F3 or similar. I've seen many a producer check out the project we are on and say to the supervising producer "oh, your shooting on RED, this is working for you... huh" :) That producer now sees it as a viable option for them.

-Dane

[Bob Gundu]

Ive had a couple of similar situations where I was able to convince the client to go with RED if I was able let them walk home with the proRes files from my Samurai.

[Mike P.]

Well, as long as 1080 ProRes HQ is good enough for you, you should be fine. After all, many folks shoot that on Alexas…

: ) My thinking exactly. I wonder how RED is going to handle this if they release an official ProRes/DNxHD module.

By yeah with regards to Alexa, Scarlet now has a bigger sensor, twice as much supersampling (5k compared to 2.8k to 1080p), and from what I've read, cleaner high ISO performance when "baked in" out the monitor path. Those are three pretty big advantages for projects that are finishing in 1080p. So this kind of recording does have it's place for certain types of shooting/projects... well, until 4k displays saturate the market.