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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 :)

Scarlet 2/3" Fixed @ CES

No one has any specific info about fan noise level, perhaps because they still are working on the heat and the power draw of the camera.

I just pray that the cams are more silent than a RED One.

Pat
 
Oliver Moereels said:
A lightweight magic arm on the cam, with a shockmount on the end to hold your shotgun. Beats the crap out of any on-camera mic clamp... :-)
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Another option is using a cage system and attaching stuff to the top or side rails. Red sells all the parts that you can configure to what ever you need. Alternatively Redrock and others have some cool cages see redrock DSLR cinema kit).
 
Jürgen Hansen said:
Wouldn't a monitor at the side, which you could flip open, be better?
Thanks, Jürgen
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I think the beauty of the RED system is that you can put what you want, where you want it.

If you want a 5" monitor on the side, you can do that. Left side? Yes. Right side? Yes.

How about on top? Obviously, yes. Below (for some reason...)? Yes.

How about two monitors? One on the top facing to the right...and one on the left facing back towards the operator? Yes.

Or maybe an EVF for the operator and a 7" LCD for a director/producer? Yes.

--

In my opinion, that sort of flexibility offers the doc shooter way more than the standard flip out LCD.
 
Patrick Tresch said:
...

I just pray that the cams are more silent than a RED One.

Pat
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I have seen this comment a few times and I am perplexed... I have shot about 25 days with a RED ONE now, so I do have some hands-on experience. Every time we shoot, as soon as the record button is pressed, the fan goes off and the camera is silent. Where is the noise coming from? I don't understand. Are you working in extreme heat where the fan might stay on? :confused5:
 
Terry VerHaar said:
I have seen this comment a few times and I am perplexed... I have shot about 25 days with a RED ONE now, so I do have some hands-on experience. Every time we shoot, as soon as the record button is pressed, the fan goes off and the camera is silent. Where is the noise coming from? I don't understand. Are you working in extreme heat where the fan might stay on? :confused5:
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It's not quite the fan but more a constant buzz wich can also include the fan low mode. If you have separate sound system it can be avoided but if you think run and gun with a mic on top of the camera (think Scralet fixed) I'm sure you'll hear noise if it's like a RED one.

Hope to death to be wrong.

Pat
 
Terry VerHaar said:
I have seen this comment a few times and I am perplexed... I have shot about 25 days with a RED ONE now, so I do have some hands-on experience. Every time we shoot, as soon as the record button is pressed, the fan goes off and the camera is silent. Where is the noise coming from? I don't understand. Are you working in extreme heat where the fan might stay on? :confused5:
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Exactly. As a AD it's actually nice to be able to hear the camera rolling.
 
Michael Olsen said:
I think the beauty of the RED system is that you can put what you want, where you want it.

If you want a 5" monitor on the side, you can do that. Left side? Yes. Right side? Yes.

How about on top? Obviously, yes. Below (for some reason...)? Yes.

How about two monitors? One on the top facing to the right...and one on the left facing back towards the operator? Yes.

Or maybe an EVF for the operator and a 7" LCD for a director/producer? Yes.

In my opinion, that sort of flexibility offers the doc shooter way more than the standard flip out LCD.
Click to expand...

Exactamondo, besides something about a flip out Monitor that screams and feels cheap to me. If the hinges break the whole red body has to be sent back. The less moving parts the more rugged the design I've found with most electronics. Think old flip phones.
 
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A quick question :
How much does the Scarlet package Ted was holding at CES weight ?

A Glidecam HD 4000 will be ok with it ? (as it is made for a maximum weight of 4.5 kilos)
 
Bastien Tribalat said:
A quick question :
How much does the Scarlet package Ted was holding at CES weight ?

A Glidecam HD 4000 will be ok with it ? (as it is made for a maximum weight of 4.5 kilos)
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not 100% sure but I think 6+ pounds was stated somewhere.
If that is accurate i'm psyched, perfect weight to have some stability but not be too heavy. The form factor of the new cams doesn't get praised enough . . .
 
If that is accurate i'm psyched, perfect weight to have some stability but not be too heavy. The form factor of the new cams doesn't get praised enough . . .
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After all the images I've seen of the Scarlet, I was really surprised by the depth of the body in the interview with Ted..in a good way. It does look just right, size wise, being still small enough to mount in a few tight spots ( in car eg ) but still appears to be decently hand holdable ( is that a word? ) and yet ready for a larger shoulder rig.
 
Bastien Tribalat said:
A quick question :
How much does the Scarlet package Ted was holding at CES weight ?

A Glidecam HD 4000 will be ok with it ? (as it is made for a maximum weight of 4.5 kilos)
Click to expand...

At the end Ted says the Scarlet Fixed is about 4,5 pounds (2 kg.) which is probably without LCD, (CF), grip and Redmote (which you could take off). So all in all it seems like it's possible. Of course you could choose the Interchangeable which must be the lightest of all the Red cameras (stripped down of course).
 
Scarlet at Sundance.

Hello again everyone - I'm heading up in a couple days for my usual pilgrimage to Sundance (as you might imagine there are many movies in the festival shot on the RED, including 2 of the big buzz movies of the festival, Margin Call and Kevin Smiths Red State)

I'll likely be bringing a Scarlet to show off, so if any RED ONE owners and/or working Press are up at Sundance and want to get a close up look at this camera that 's built for indie filmmaking, please send me an email and we can arrange a visit

ted@red.com

I should start a new thread with this info, so it doesn't get too buried... (this is page 46 of this thread... yikes)

+ Ted
 
Ted, if you have a chance, you need to get Kevin Smith to do an interview. He has given HIGH praise to the Red One on his various podcasts and said he would shoot Red everytime if his DP (Dave Klein, who also seems to think Red One is the best digital option) was cool with it. I don't know if you guys had heard, but KS actually showed the near final cut of the movie at the wrap party for the flick. If that doesn't tell you that most workflow issues with the Red One have been worked out, I don't know what will.
 
Many months ago when I first heard of RED ONE, Scarlet was just a topic in many forums. Now in 2011 it looks like viable hardware. Being fairy new to the RED cameras I've noticed there are variations to EPIC and Scarlet. Initially, my next camera was going to be a 1D Mark IV. I have a budget of about $10,000 in April. My question(s) are: which camera best fits into the 10k budget best and when would one expect delivery of said RED.
 
Dee Joslin said:
Many months ago when I first heard of RED ONE, Scarlet was just a topic in many forums. Now in 2011 it looks like viable hardware. Being fairy new to the RED cameras I've noticed there are variations to EPIC and Scarlet. Initially, my next camera was going to be a 1D Mark IV. I have a budget of about $10,000 in April. My question(s) are: which camera best fits into the 10k budget best and when would one expect delivery of said RED.
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LONG VERSION:
I'd say the biggest bang for your $10,000 bucks would be the FIXED Scarlet. A working configuration will come in right around $5,750. It's a 2/3" sensor with with a resolution of 3K (pixel count is 3072x1728). This will not be the ideal camera if your main work is in STILL photography but it is a killer of a steal if you are are shooting MOTION and want quality pictures to draw from.

The next step up would be to the EPIC-S which will feature a full S35 sensor, 5K resolution (and I speculate it to have up to 60fps at its max resolution). What this means is you will be able to shoot 13.8MP REDCODE RAW images at that rapid of pace. If 5K happens to be "too much" for a little project, you still have the option of scaling the image down real-time to 1080p (maybe 2K). The only downside is that it may cost you $17,000 to get a decent rig up and running. The upside? No other company offers anything close to this...not even something that we can compare to in price.

One other thing I should mention, you will be able to use the Canon glass you were going to use on the Canon you were thinking of buying.

SUMMARY:

The FIXED would be best if you are limited to $10,000. You might want to do your best at getting an EPIC-S. If you can't, the beauty of it is that RED makes it easy to migrate to the next brain purchase...
 
Joseph Hutson said:
LONG VERSION:
I'd say the biggest bang for your $10,000 bucks would be the FIXED Scarlet. A working configuration will come in right around $5,750. It's a 2/3" sensor with with a resolution of 3K (pixel count is 3072x1728). This will not be the ideal camera if your main work is in STILL photography but it is a killer of a steal if you are are shooting MOTION and want quality pictures to draw from.

The next step up would be to the EPIC-S which will feature a full S35 sensor, 5K resolution (and I speculate it to have up to 60fps at its max resolution). What this means is you will be able to shoot 13.8MP REDCODE RAW images at that rapid of pace. If 5K happens to be "too much" for a little project, you still have the option of scaling the image down real-time to 1080p (maybe 2K). The only downside is that it may cost you $17,000 to get a decent rig up and running. The upside? No other company offers anything close to this...not even something that we can compare to in price.

One other thing I should mention, you will be able to use the Canon glass you were going to use on the Canon you were thinking of buying.

SUMMARY:

The FIXED would be best if you are limited to $10,000. You might want to do your best at getting an EPIC-S. If you can't, the beauty of it is that RED makes it easy to migrate to the next brain purchase...
Click to expand...

Nice piece of information... I really don't see Epic as being that far out of reach especially for what you get.
 
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