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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

10 Scarlet Questions from Joseph Hutson

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Chuck Z said:
Are you currently testing 120 FPS using REDCODE 42 or a data rate less than that? I'm wondering because we know Scarlet will feature higher bandwidth REDCODE recording rates above and beyond REDCODE 42. (i.e., is REDCODE 42 = "reduced" or X < REDCODE 42 = "reduced"?)

I think REDCODE 42 might be near mathematically lossless on the Scarlet (of course this is conjecture on my part) given that there are less than half the number of photosites compared to the RED One.
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There is alot of confusion in the numbers and the equivalents , which is one of the reasons that we are switching to ratios ( i.e. REDCODE 3:1 ) to indicate REDCODE compression values.
 
Quentin_B said:
Optical Image stabilization would be great but perhaps pushing it too far considering what you have managed to put in that lens already...
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Your correct.. No Optical image stabilization, but instead a hybrid stabilization using the sensors in the camera for movement and then shifting the window.. its all metadata so the stabilization correction can be applied, or discarded.

Someone asked me about the fixed focal length in 2/3" broadcast terms... it is F2.4 7.5mm - 58mm. Constant aperture throughout the zoom range.
 
Jarred Land said:
Your correct.. No Optical image stabilization, but instead a hybrid stabilization using the sensors in the camera for movement and then shifting the window.. its all metadata so the stabilization correction can be applied, or discarded.

Someone asked me about the fixed focal length in 2/3" broadcast terms... it is F2.4 7.5mm - 58mm. Constant aperture throughout the zoom range.
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Doing electronic image stabilization on CMOS footage often creates a jiggling effect due to the skew from low reset rates. Is the 5ms reset rate on MX fast enough that this won't be an issue? That may be a rhetorical question--I doubt you would have the feature if the results were unusable. Has anyone with an MX R1 tried stabilizing footage in post?

I had wondered about the speed of the lens in F stops rather than T stops. IIRC, it's T2.6 as far as exposure is concerned, but by my understanding, the number that's relevant for calculating DOF is the F stop. It's good to know that.
 
Jarred Land said:
Your correct.. No Optical image stabilization, but instead a hybrid stabilization using the sensors in the camera for movement and then shifting the window.. its all metadata so the stabilization correction can be applied, or discarded.

Someone asked me about the fixed focal length in 2/3" broadcast terms... it is F2.4 7.5mm - 58mm. Constant aperture throughout the zoom range.
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Constant aperture throughout the zoom range nice... I assume fixed will be quite popular and have a lot of firmware updates.
 
Just to conform,so is that possible to complete a full length feature film on a single Scarlet fixed?
 
Jarred Land said:
Your correct.. No Optical image stabilization, but instead a hybrid stabilization using the sensors in the camera for movement and then shifting the window.. its all metadata so the stabilization correction can be applied, or discarded.
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What about motion blur? You'll just end up with a jiggly blurry image won't you?

Stabilized handheld footage with 180* shutter can be more distracting than handheld footage. The point of optical stabilization in the case of stills is so that you can take longer exposures in less light without it being completely blurred.
 
Something else that may be documented somewhere but I couldn't find it:

The fixed lens Scarlet has a gear on the barrel, which I assume is for the focus ring. Is the focus ring mechanically driving the lens, or is it an encoder that drives the lens motor, driving the lens?

EDIT: Oh... just found the answer... the ring is programmable, so it's an encoder driving the motor. Can anything be said about lag and repeatability? Let's say compared to an XL-1 or DVX?

Barend
 
Arunr said:
Just to conform,so is that possible to complete a full length feature film on a single Scarlet fixed?
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The tools are only part of the equation. You need to improve the other part too.

E. :-)
 
The name Jackpot suggests to me that you guys are begining your victory lap. Does this indicate that Epic production is begining to ramp up? Is Tattoo done?
 
Is there going to be a limit on recording size due to overheating. Say we are recording to an external SSD, can this be used for event recording?
 
Lee Saxon said:
I can't imagine why there would be, one of the main advantages of SSDs is how little heat they produce.
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I imagine he's thinking more about heat on the sensor and boards, it is why they have fans after all and during shooting the fans are usually set to stay turned off for sound.
 
Jarred Land said:
Your correct.. No Optical image stabilization, but instead a hybrid stabilization using the sensors in the camera for movement and then shifting the window.. its all metadata so the stabilization correction can be applied, or discarded.
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Wow did I actually guess a feature right or has this one already broken and I missed it? I do like that we are thinking alike anyway.:beer:

Be interesting, eventually, to see the results from this process and how much it can help or not in certain situations when going handheld..

Jarred Land said:
Someone asked me about the fixed focal length in 2/3" broadcast terms... it is F2.4 7.5mm - 58mm. Constant aperture throughout the zoom range.
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Now are these the actual focal lengths of the lens or have they been adjust to give field of view equivalents for a 2/3 " broadcast standard aspect ratio sensor vs the coverage of the 2/3" MX? And what is that coverage by the way? Is it a 2:1 sensor? Measurements please! :bigear:
 
Gavin Greenwalt said:
What about motion blur? You'll just end up with a jiggly blurry image won't you?

Stabilized handheld footage with 180* shutter can be more distracting than handheld footage. The point of optical stabilization in the case of stills is so that you can take longer exposures in less light without it being completely blurred.
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I think I got it. Image stabilization in post production may be OK for motion, but there will be no image stabilization for stills... It looks like I will pass on Scarlet... I will see how much money I can spend on my hobby when the interchangeable lens Scarlet comes out. I will by it and use it with OIS lenses, or I will by a next generation SLR with a movie mode (not the current crop, but what will be available then)
 
Sergiy said:
I think I got it. Image stabilization in post production may be OK for motion, but there will be no image stabilization for stills... It looks like I will pass on Scarlet... I will see how much money I can spend on my hobby when the interchangeable lens Scarlet comes out. I will by it and use it with OIS lenses, or I will by a next generation SLR with a movie mode (not the current crop, but what will be available then)
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Even though they are a part of the DSMC line I wouldn't have thought that the 2/3" models would get a huge amount of serious use as stills cameras, after all they will only give a 5 Megapixel image giving you 300dpi prints up to 10x5" - not enough for a magazine cover (though there was once a time when it was). Plus most people want to shoot stills with a larger sensor for easily obtainable shallow DOF control. The Canon and Nikon mounts may give your the possibility for the optical stabilization you want though.
 
Martin Weiss said:
Surely there'll be an exception for camouflage pink?

pinkepic.jpg
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Martin, this isn't pink, it's magenta. Without magenta, there would be no red.
 
Quentin_B said:
I imagine he's thinking more about heat on the sensor and boards, it is why they have fans after all and during shooting the fans are usually set to stay turned off for sound.
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Had a 7d, returned it due to overheating during extended shoots. Had to wait for it to cool down.

The Scarlet has extensive postimaging processing and that will create heat, and the Scarlet body is much more compact than Epic, One, etc. So I worry about heat limits. I see that Jarred says that the Scarlet is now working on a lab bench, and a lab bench does not suffer from being a small enclosed space. So I wonder. Would HATE to have camera fans on.
 
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