Thread: SCARLET MX worth in 2021

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  1. #41  
    Senior Member PatrickWebb's Avatar
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    Quote Originally Posted by Karim D. Ghantous View Post
    Whatever spare cash I had is in crypto. But, when that matures, I'm going on a spending spree. ;-)

    Quick question: how difficult is it to reliably clean the CA? I assume that Resolve does it but I have no experience with that kind of thing. As you're no doubt aware, photographic RAW converters have lens/sensor profiles which do all that in one simple step.

    What's interesting is that the Sony A1 has a buffer of about 155 RAW files, which is about 6 seconds at 24fps. So, even with cameras like this, you are arguably handicapped as far as video is concerned. Not that there is anything wrong with this camera! Not at all. It's just aimed at a different market segment. And I think that in skilled hands it could easily replace dedicated cinema cameras. But, as I said before, working with actual RAW files is something that is worth the effort.
    Uff, that is a question on the lens as well. If stopped down that cleans up CA nicely. But wide open, you are in all sorts of dangers. To answer your question: I am not entirely sure. I often try and keep that at bay, but if my CA creeps in the image, then it is generally around highlights off shiny objects. However, I have not looked so closely to my videos for that to bother me. I know Resolve does a brilliant job at NR, but CA, not sure, mate. That might be a question for the postproduction guys, maybe for a colourist or DIT to answer in depth. There probably is a corrector in DvR16~17 that corrects this, but I have never used it.
    Patrick Webb,
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    EPIC-X #06833 "Monsta" & SCARLET-X #01773 "Scratch"
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  2. #42  
    Senior Member Scot Yount's Avatar
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    At the end of the day, the Scarlet-X shoots compressed REDCODE raw. 16 bits (linear I think...). Raw is key and this kind of raw with so much freedom is the beauty of these cameras. Sensor is key for a "look" or for the amount of light you have on hand, but really, giving you a full raw workflow is the most valuable piece of the equation. Learning how to work with that data is what brought me to RED in the first place. The room for creativity that it provides is what keeps me here.
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  3. #43  
    Senior Member PatrickWebb's Avatar
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    Quote Originally Posted by Scot Yount View Post
    At the end of the day, the Scarlet-X shoots compressed REDCODE raw. 16 bits (linear I think...). Raw is key and this kind of raw with so much freedom is the beauty of these cameras. Sensor is key for a "look" or for the amount of light you have on hand, but really, giving you a full raw workflow is the most valuable piece of the equation. Learning how to work with that data is what brought me to RED in the first place. The room for creativity that it provides is what keeps me here.
    Well said. I agree with that totally.
    Patrick Webb,
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    EPIC-X #06833 "Monsta" & SCARLET-X #01773 "Scratch"
    Carl Zeiss & Voigtänder Glass
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  4. #44  
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    Quote Originally Posted by Karim D. Ghantous View Post

    I have considered buying a Scarlet X just so I can get used to using a high end cinema camera. I have no doubt that for a lot of things, a modern Sony body would be a better option. But we're talking 16-bit RAW files here, plus a whole lot of other stuff.
    I think its not a bad idea if you want a higher end image. As long as you are aware of the limitations and that the camera is going to continue to lose value. I've seen some packages for $3500. There is really a big difference between the 10 bit coming out of most cameras and RED's 16 bit RAW. Sony's new full frame sensors are slightly ahead in terms of dynamic range and smoke the MX in terms of high frame rates. Depends what you value more.

    Quote Originally Posted by PatrickWebb View Post
    Uff, that is a question on the lens as well. If stopped down that cleans up CA nicely. But wide open, you are in all sorts of dangers. To answer your question: I am not entirely sure. I often try and keep that at bay, but if my CA creeps in the image, then it is generally around highlights off shiny objects. However, I have not looked so closely to my videos for that to bother me. I know Resolve does a brilliant job at NR, but CA, not sure, mate. That might be a question for the postproduction guys, maybe for a colourist or DIT to answer in depth. There probably is a corrector in DvR16~17 that corrects this, but I have never used it.
    CA is the bane of my existance. There is a lot of amazing software out now to control almost anything. Definitely gets processor intensive on whatever system you use though.

    Quote Originally Posted by Scot Yount View Post
    At the end of the day, the Scarlet-X shoots compressed REDCODE raw. 16 bits (linear I think...). Raw is key and this kind of raw with so much freedom is the beauty of these cameras. Sensor is key for a "look" or for the amount of light you have on hand, but really, giving you a full raw workflow is the most valuable piece of the equation. Learning how to work with that data is what brought me to RED in the first place. The room for creativity that it provides is what keeps me here.
    Yeah I am really not regretting picking up the Scarlet MX. The image makes the 10 bit I've been using almost look desaturated in some of the comparisons I've been doing. The color looks so much more lifelike and rich. I am interested to see how BRAW stacks up against the 16 bit REDcode. I'll have to borrow one of my friend's Pockets and do some comparisons.
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  5. #45  
    Quote Originally Posted by Eric Santiago View Post
    Just plug and play.
    But dont forget to go into audio settings and check levels.
    I’m not seeing any levels when I plug the mics in. What could I be missing?
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  6. #46  
    Senior Member PatrickWebb's Avatar
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    Quote Originally Posted by Thomas Pawlowski View Post
    I’m not seeing any levels when I plug the mics in. What could I be missing?
    Go to the Audio Settings and check if you have them ticked and also check the levels if they have been set to 0, you might need to adjust accordingly. Have you plugged in an A-Box or are you plugging in a Mic directly to the inputs at the front of the camera?
    Give me some more info / pictures if you have time.
    Cheers.
    Patrick Webb,
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  7. #47  
    Senior Member Eric Santiago's Avatar
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    Quote Originally Posted by PatrickWebb View Post
    Go to the Audio Settings and check if you have them ticked and also check the levels if they have been set to 0, you might need to adjust accordingly. Have you plugged in an A-Box or are you plugging in a Mic directly to the inputs at the front of the camera?
    Give me some more info / pictures if you have time.
    Cheers.
    The A-Box is great if you are using XLRs mic but it should work with that 1/8inch wonder suggested here.
    < Someday I'll be cool enough to have something witty here >
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  8. #48  
    Senior Member PatrickWebb's Avatar
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    On a side note, I got this shot from last weekend on the S-MX! Great colours here.


    Cheers!
    Patrick Webb,
    Director of Photography
    Heapsgood Productions, Norway.
    (www.Heapsgood.no)
    EPIC-X #06833 "Monsta" & SCARLET-X #01773 "Scratch"
    Carl Zeiss & Voigtänder Glass
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  9. #49  
    Senior Member Eric Santiago's Avatar
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    Amazing Patrick :)

    Thanks for all this, I am out of my winter slump and going to start shooting more :)
    < Someday I'll be cool enough to have something witty here >
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  10. #50  
    Senior Member PatrickWebb's Avatar
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    Quote Originally Posted by Eric Santiago View Post
    Amazing Patrick :)

    Thanks for all this, I am out of my winter slump and going to start shooting more :)


    No worries! I have been enjoying taking out the Scarlet for missions and shooting for stills.

    If you're interested, You can check out my blog for some stills I grabbed from last week: https://www.heapsgood.no/2021/03/09/...red-scarlet-x/

    That has also been a good a chilled experience too compared to taking out the stills camera. I can have less sound (shutter) and concentrate on enjoying the experience of nature and get lost in looking at the details. Here is a video that I put together of chasing light called "The Endwinter" (https://youtu.be/8fcPgof5Kb8).

    This video was inspired by finding nice compositions highlighted by the sunlight. It is a really simple but totally enjoyable experience taking the camera out and letting the sun inspire you and influencing you compositions. I find it to be a good way to get out and just be creative and with no real objective, leaving the journey as the main focus and then the result is just the reflection of what had happened on that mission. A more philosophical approach to photography. Nature, Photography and fresh air are all my medicine.

    Cheers! I look forward to what others have to share too! :)

    - Patrick
    Patrick Webb,
    Director of Photography
    Heapsgood Productions, Norway.
    (www.Heapsgood.no)
    EPIC-X #06833 "Monsta" & SCARLET-X #01773 "Scratch"
    Carl Zeiss & Voigtänder Glass
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