Scarlet S35 is now...

[Gunleik Groven]

It was posted on facebook by Jarred...

 

[Scott Crawley]

Epic Condescension?

 

[John Burnley]

Scarlet 8X Fixed is nearly done. I like it. So does everyone here.

Jim

That is great to hear, Jim. I certainly have usage in mind for the Fixed. Can't wait to hear more ...

 

[Brandon J.F.]

Where did you find this? Can you please point me to the original post? I'd love to know more - like is this a stills frame or a grab from motion? Thanks.

As Gunleik said, it was posted on Facebook by Jarred. I presume it is from motion, but I don't know. It wasn't said.

 

[Joseph Podlesnik]

I came from same film school (and film department, BTW) as Pedro (Costa), I met him several times, we both spoke about moviemaking a few others (I remember first time he knew in a certain occasion he was auspiciously quoted abroad as one of the big promises, through my own mouth more than a dozen years ago), besides to share the same motherland, we have some friends and colleagues that work with him, and something I can tell you:

Even if he can take advantage of the 1/3" sensor size in order to avoid a focus puller, he has just embraced that format for price-wise reasons (after a well succeed career shooting 35mm film) and freedom (read, to stay clear of expenses including film stock, processing, developing, workflow, etc). As light as possible. The smaller crew the better.

He's not the type of shooter to cheer the technology as it is often used in these forums. Or pricey gear.

Again, as a true artist, he practices a spartan style of shooting. He avoids the use of expensive gear as much as possible. It wouldn't surprise me if he'd rather shoot on any DSLR with all the flaws we know than any Epic for reasons of budget. Scarlet S35 has been a dream in midway, hope not irremediably lost.

Thanks for adding this, Emanuel. Obviously I am aligning myself in certain technical/practical and aesthetic ways with Costa for me to make such statements. What I was trying to say was basically 'if a simple, scaled down approach is good enough for Costa (and to me, Scarlet-fixed fits this model), it's good enough for me, for my needs. When you see his films, you'll be impressed by what he does with light.

 

[Brendan Johnson]

Is Epic Light physically lighter than Epic?

 

[Leo Ticheli]

Another thought on the Scarlet 2/3":

Why does the model with all the auto features have to have a fixed lens mount? Could not there be a mount that converts from, PL or Nikon or Canon, to one that has the electrical connections offered by the fixed lens? Then a single Scarlet could be fitted with whatever lens was best; fast, ultra wide, long telephoto, speciality... I can see one of the f.95 lenses being a major plus for the Scarlet, to overcome the DOF issues when desired.

For that matter, why can't the fixed lens have a Nikon or Canon mount? Do they not offer the required electrical interface?

Seems to me this could be the best of both worlds in a single camera; the auto features of the fixed Scarlet with the versatility of the interchangeable Scarlet.

Perhaps such a thing would require too high a price increase, but should be cheaper than having to buy two cameras, or should I say, two brains. Of course two cameras is a big plus, but problematical for those on a tighter budget.

Good shooting and best regards,

Leo

 

[Cüneyt Kaya]

Hope this name change does not equal another price increase. I've been saving up for a couple of long years. Can't wait for Jim's signature to switch from:

""Everything in life changes... including our camera specs and delivery dates..."

to:

"Ok, you can now believe what I say."

i think this statement lacks respect,
the red company was always honest in every aspect.

 

[Scott Crawley]

Why does the model with all the auto features have to have a fixed lens mount? Could not there be a mount that converts from, PL or Nikon or Canon, to one that has the electrical connections offered by the fixed lens? Then a single Scarlet could be fitted with whatever lens was best; fast, ultra wide, long telephoto, speciality... I can see one of the f.95 lenses being a major plus for the Scarlet, to overcome the DOF issues when desired.

Good shooting and best regards,

Leo

That is what I was thinking. I'm sure there will be a fine and useful lens on 8x fixed and I can easily see how useful the unit will be. However I demand more versatility from my kit. This is especially true of my run and gun rig. That is where I see myself employing this format most, and that is why I am partial to the interchangeable lens 2/3. There was once a plan for a 2/3 interchangeable mount, no?

I didn't mean to suggest that the 8x would not deliver pro results. The thought was that I require three things from a professional tool: it must be rugged, flexible, and able to deliver superlative results.

To be completely honest though, what I desire most is not to use 2/3 at all. I would like a single FF35 body that is sensitive enough to stop down as far as necessary to overcome the DOF issues that are currently driving folks to choose 2/3 formats, and I should be able to mount fast glass to a large sensor to yield shallow DOF. If it also has some auto features, then that tool will be the most flexible. That is the one to do it all instead of carrying a second body for run and gun shooting.

 

[D Fuller]

There was once a plan for a 2/3 interchangeable mount, no?

I've seen nothing to suggest that plan has changed.

 

[Emanuel A.]

Thanks for adding this, Emanuel. Obviously I am aligning myself in certain technical/practical and aesthetic ways with Costa for me to make such statements. What I was trying to say was basically 'if a simple, scaled down approach is good enough for Costa (and to me, Scarlet-fixed fits this model), it's good enough for me, for my needs. When you see his films, you'll be impressed by what he does with light.

It would be helpful to this community to read more posts of people like you, Joseph. Normally they prefer to be silent, very likely for not entering in sterile discussions against the dominant techie POV here. Expensive wishful thinking you won't necessarily find in the business outside, so a bit reality distorting bubble.

I bet Pedro Costa would take any affordable S35 format (with the autofocus program announced by RED, for example) than the 2/3" solution (therefore, my DSLR mention). As well, the 4/3" route would be chosen instead yet (rather than a smaller sensor size) for a similar price.

 

[David Rasberry]

That is what I was thinking. I'm sure there will be a fine and useful lens on 8x fixed and I can easily see how useful the unit will be. However I demand more versatility from my kit. This is especially true of my run and gun rig. That is where I see myself employing this format most, and that is why I am partial to the interchangeable lens 2/3. There was once a plan for a 2/3 interchangeable mount, no?

I didn't mean to suggest that the 8x would not deliver pro results. The thought was that I require three things from a professional tool: it must be rugged, flexible, and able to deliver superlative results.

To be completely honest though, what I desire most is not to use 2/3 at all. I would like a single FF35 body that is sensitive enough to stop down as far as necessary to overcome the DOF issues that are currently driving folks to choose 2/3 formats, and I should be able to mount fast glass to a large sensor to yield shallow DOF. If it also has some auto features, then that tool will be the most flexible. That is the one to do it all instead of carrying a second body for run and gun shooting.

You will not likely achieve deep enough DOF in low light conditions with FF35 without also exceeding the ability of silicon sensors to deliver wide dynamic range low noise images.
There are styles of shooting where 2/3" or 16mm sized imagers and optics are the superior choice. The beauty of the fixed brain is that it is cheaper and more compact than any aftermarket servo zoom lens alternative with similar range and speed. Such a lens doesn't even exist for FF35 and would not be usable for run and gun if it did.
With a modular system one is not locked into one or the other choice as the sole format of your camera package.

 

[Justin O'Neill]

Why does the model with all the auto features have to have a fixed lens mount?*

As far as we know there are no auto/electronic features on the fixed Scarlet that aren't available on the interchangeable scarlet and the Epics when using electronic mounts. You can put electronic nikon/ canon mounts on the interchangeable you just have a huge crop factor.

 

[Bill Anderson]

I came from same film school (and film department, BTW) as Pedro (Costa), I met him several times, we both spoke about moviemaking a few others (I remember first time he knew in a certain occasion he was auspiciously quoted abroad as one of the big promises, through my own mouth more than a dozen years ago), besides to share the same motherland, we have some friends and colleagues that work with him, and something I can tell you:

Even if he can take advantage of the 1/3" sensor size in order to avoid a focus puller, he has just embraced that format for price-wise reasons (after a well succeed career shooting 35mm film) and freedom (read, to stay clear of expenses including film stock, processing, developing, workflow, etc). As light as possible. The smaller crew the better.

He's not the type of shooter to cheer the technology as it is often used in these forums. Or pricey gear.

Again, as a true artist, he practices a spartan style of shooting. He avoids the use of expensive gear as much as possible. It wouldn't surprise me if he'd rather shoot on any DSLR with all the flaws we know than any Epic for reasons of budget. Scarlet S35 has been a dream in midway, hope not irremediably lost.

And that accounts for one man, one artist more or less, but it doesn't account for other artists who choose differently - artists who are every bit as free and innovative and passionate about their art. It is just as narrow minded to believe that embracing glitch will provide for all, as it is to believe that embracing expensive tools will provide "the way". Anyway, this is the same old "it's not the camera...." argument that is too often thrown in the face of others, and it is made quite redundant when one considers that every man and his dog has marveled at the works of Thomas Vinterberg, David Lynch, Lars Von Trier, S Soderbergh, Gus Van Sant, Werner Herzog ...

And please consider: :Travelling light" and all that you imply by this, is now entirely possible, but with the fidelity that was once the exotic domain of unwieldy and very expensive technology: that is what is being celebrated here.

 

[David Mullen ASC]

If I were to buy a camera, I'm sort of torn between three options, from the point of view that most of my work will be with a rented camera for main unit:

(1) Get the fixed lens 3K Scarlet -- because I'd probably get the most work out of the camera when used in situations where I needed something small and light, sort of the shots that some people are using a DSLR or EX3 for currently, or as a C-camera during an action scene. Plus this is the most affordable option, lens being included. Would make the smallest package possible for taking around on location.

(2) Get the S35 5K Epic Lite. This would allow me to use whatever lenses are being rented for the main bodies, or even get production to rent this as the C-camera. But now I get into either buying some PL-mount lenses of my own (particularly if the main body ends up having a PV-mount on occasion), and getting all the accessories that a production would require. So I'd basically become a 35mm package owner, something I've avoided so far.

(3) Wait for the FF35 6K Epic. This would become sort of my own personal "VistaVision" camera, I could use it for landscape shots, use cheaper still camera lenses on it (where focus-pulling on actors will be less of an issue), occasionally use it as a C-camera, plus it's still small and light relative to some other cameras... but only get a minimal amount of accessories rather than push it as a B-camera package. Plus it would be 6K, great for wide shots.

So oddly enough, option 2 could end up being the most expensive if only because I'd feel compelled to accessorize the camera fully, and get a set of PL-mount lenses for it. Option 1 is the most affordable and in some ways, most justifiable because I'd be carrying around a useful camera that the main unit wouldn't necessarily want to rent as a third body, and the quality would be SO much better than a DSLR. Option 3 is the most appealing from a personal work sort of way, a camera that could be good for plate work and landscape shots done on my own time.

 

[David Dennis]

(3) Wait for the FF35 6K Epic. This would become sort of my own personal "VistaVision" camera, I could use it for landscape shots, use cheaper still camera lenses on it (where focus-pulling on actors will be less of an issue), occasionally use it as a C-camera, plus it's still small and light relative to some other cameras... but only get a minimal amount of accessories rather than push it as a B-camera package. Plus it would be 6K, great for wide shots.

So oddly enough, option 2 could end up being the most expensive if only because I'd feel compelled to accessorize the camera fully, and get a set of PL-mount lenses for it. Option 1 is the most affordable and in some ways, most justifiable because I'd be carrying around a useful camera that the main unit wouldn't necessarily want to rent as a third body, and the quality would be SO much better than a DSLR. Option 3 is the most appealing from a personal work sort of way, a camera that could be good for plate work and landscape shots done on my own time.

Okay, I'm not a pro but you've made me curious ... why wouldn't you feel even more compelled to accessorize the FF35 6K Epic?

D

 

[Emanuel A.]

And that accounts for one man, one artist more or less, but it doesn't account for other artists who choose differently - artists who are every bit as free and innovative and passionate about their art. It is just as narrow minded to believe that embracing glitch will provide for all, as it is to believe that embracing expensive tools will provide "the way". Anyway, this is the same old "it's not the camera...." argument that is too often thrown in the face of others, and it is made quite redundant when one considers that every man and his dog has marveled at the works of Thomas Vinterberg, David Lynch, Lars Von Trier, S Soderbergh, Gus Van Sant, Werner Herzog ...

Sure. Why shouldn't it be? ;-) The 'things' have so many tones of gra(e)y or, as you wish, millions of colo(u)rs :smiley:

(For instance, we might never place all those names, or even the whole of their work, altogether in the same basket...)

And please consider: :Travelling light" and all that you imply by this, is now entirely possible, but with the fidelity that was once the exotic domain of unwieldy and very expensive technology: that is what is being celebrated here.

Unfortunately, not always

 

[David Mullen ASC]

Of course I'd need some accessories, but nothing like a full pro camera package on a film set, I'd leave it stripped down to something mobile I could throw into my car. If I rented one of my cameras as a "B" camera, I'd have to have a s---tload of accessories, studio follow-focus, pro mattebox, rods, PL-mount cine lenses, decent onboard monitor, etc. As more of a second-unit / plates / landscape camera, it could be more like a tricked-out still camera in terms of accessories.

 

[Cüneyt Kaya]

Of course I'd need some accessories, but nothing like a full pro camera package on a film set, I'd leave it stripped down to something mobile I could throw into my car. If I rented one of my cameras as a "B" camera, I'd have to have a s---tload of accessories, studio follow-focus, pro mattebox, rods, PL-mount cine lenses, decent onboard monitor, etc. As more of a second-unit / plates / landscape camera, it could be more like a tricked-out still camera in terms of accessories.

hi david, i do rent out my cam as bcam.
its full assec. with red and ET stuff, but no tripod, studio FF, lenses etc.

reason:
every project needs a different camera support, some want ultra primes, some cooke S4, some a c-motion, some a LCS, some MB14, some LMB5.

they just rent this stuff additionaly to the camera and light stuff.
but since its always a red project, it makes sense for both to take my cam.
for the production its cheaper to get my cam because i set up a package deal with me and my equipment.

for me its cool, because my red gets paid

 

[Jared Caldwell]

My favorite brains are the 2/3" Fixed and the FF35. I would love to have both of these brains, as I feel that they would pretty much cover every option I would want to shoot.

I am excited to see what the S35 Epic Lite will bring, as this could be the "goldilocks" brain.

I might have to get all three. :}