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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 :)

Cinema 5d guesses interchangeable

Jim said that RED is for professionals, not prosumers, and their products will reflect this. I think it would be very prosumer-ish of them to ship the Scarlet with a fixed lens.
 
Matt Reyer said:
Jim said that RED is for professionals, not prosumers, and their products will reflect this. I think it would be very prosumer-ish of them to ship the Scarlet with a fixed lens.
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That could be debated. It's already been stated that it's a Pro lens. Most pro zoom lenses will cost that much easily. To cover that much range in one camera is an amazing accomplishment to what they've even done. I also remember an interview somewhere where it was discussed the lens was possibly being used to help RED develop there own electronic lenses.
 
David Rasberry said:
Comments like the market has changed and what seemed like a good idea 3 years ago might not be the best now kind of hint that there may be something other than a 2/3" format coming.
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I'd say that, given their own "4K is the future" mantra, which actually was first formally articulated after Scarlet was announced, the 3K maximal resolution would be the thing to change. The move to 4K, however, may prove too much for the 2/3-inch format, so it may very well force the adoption of a larger sensor.
 
Yeah if there is one thing I can see RED changing on the scarlet (other than minor spec nudging) is the 3K to 4K, that's why I think if Canon is going to announce anything hi-Rez is going to need to be min 4K or it's going to have to be inexpensive compared to Scarlet, which I don't think it going to happen out of the blue.
 
Isn't 3k actually 2.4k? which is close to 2k which is pretty much HD? I think Scarlet was specifically designed to dominate all 1080p finishes and even be able to easily pull off a 2k theatrical release. I don't think it was designed to be anything 4k.. Would be a cool surprise after this saga-like waiting period though.. Just hope it's still close to $6k...
 
Matt Reyer said:
Jim said that RED is for professionals, not prosumers, and their products will reflect this. I think it would be very prosumer-ish of them to ship the Scarlet with a fixed lens.
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No Jim said they made a conscious decision to to serve the professional market. It implies a level of performance and robust reliability that can stand up to day in day out service under the most demanding conditions. It also implies a commitment to a level of customer support and service that is not typical of mass consumer product manufacturers. The fixed lens Scarlet can certainly fit into that mix. Jon Sagud's first blog about Scarlet described it as the rugged workhorse Hollywood B cam, crash cam backup to Red 1. That it would also be affordable enough to fit the prosumer market was a plus But it was always aimed toward the pro market.
 
We are running in circles here on the guessing game LOL =) We all love RED and we are so glad to see all of you so excited as we are.
We can't wait to see what we get NOv 3rd! you all are so awesome! lot's of luv to all u RED lovers out there =)
 
The most important thing in all this debate is how many "pesos" the Scarlet is gonna cost ready to shoot. That might be the biggest surprise of all.
 
Not sure about specifics, but my guess is that Red's camera will be higher resolution, more flexible, smaller, lighter, and cheaper. It will have higher frame rates and better dynamic range. Despite all this, more people will buy the Canon than the Scarlett... go figure.
 
Clint Lealos said:
Despite all this, more people will buy the Canon than the Scarlett... go figure.
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Don't be so sure. If Red/Scarlet can compete price-wise and Canon has no raw format to speak of and say 4:2:2 color and a strange codec and if Red releases the Scarlet's EF mount around the same time we could see a very different landscape come November 4th. It will be interesting if one or the other is a different sensor format though. All things being equal S35 is likely the way to play here. As for resolution, Canon hasn't really even done "nice" 1080p yet, but if we're dealing with a 4K competition things could get interesting.

This is one of those moments where anything is possible. Canon has the infrastructure to create something interesting for a fairly low price. Red has already been making groundbreaking technology at prices we've never seen before. Sony has pretty much shown what they are after here. Canon has sensor tech well beyond anything that we have seen in a body yet, but they like giving it to the user bit by bit. Where as Red seems to give us the bleeding edge nearly right away. I won't say this is war, but potentially this is a market up for grabs and I'm not sold on what's currently available.
 
People in the 6k market want the easy way. Does a wedding guy want to transcode 10 hours of footage? Hdv, dvcpro, avchd. All these shit formats exist because they tell you they open in FCP and are real time.

The 5D succeeded because it was easy to get a QT file into an editing application. That's why they don't shoot wedding on film.

RED is like film.
 
I don't disagree at all with that. However, we are assuming that Red won't add a DNxHD or some other mode for 1080p output. Also, I have no problem editing 4k in realtime on my computer. Adobe Premiere Pro CS5 + Mercury Playback = nice. Now I recently had to work on some 8k material and that indeed was an "issue".
 
Canon has a strong following, no doubt. I've had to convert those in my circle, who I need to assist in projects to at least understand the Red workflow.

People can use whatever they want, I personally don't care.

Its kinda hard to not see the Beauty of RAW and the originators of the first valid 4K camera.
 
Phil Holland said:
Don't be so sure. If Red/Scarlet can compete price-wise and Canon has no raw format to speak of and say 4:2:2 color and a strange codec and if Red releases the Scarlet's EF mount around the same time we could see a very different landscape come November 4th. It will be interesting if one or the other is a different sensor format though. All things being equal S35 is likely the way to play here. As for resolution, Canon hasn't really even done "nice" 1080p yet, but if we're dealing with a 4K competition things could get interesting.

This is one of those moments where anything is possible. Canon has the infrastructure to create something interesting for a fairly low price. Red has already been making groundbreaking technology at prices we've never seen before. Sony has pretty much shown what they are after here. Canon has sensor tech well beyond anything that we have seen in a body yet, but they like giving it to the user bit by bit. Where as Red seems to give us the bleeding edge nearly right away. I won't say this is war, but potentially this is a market up for grabs and I'm not sold on what's currently available.
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Canon might be competing with the Panasonic Af100 and the Sony FS100. I've seen posts where people are ditching their 7d's and 5d's to get one of those because they are tired of moire, aliasing, jello, etc.

I think even after Scarlet releases there's a market for people that don't need or want 3k.
 
David Battistella said:
People in the 6k market want the easy way. Does a wedding guy want to transcode 10 hours of footage? Hdv, dvcpro, avchd. All these shit formats exist because they tell you they open in FCP and are real time.

The 5D succeeded because it was easy to get a QT file into an editing application. That's why they don't shoot wedding on film.

RED is like film.
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I like this analogy. The whole point of shooting Red is to have more creative latitude with the image. If that means a more deliberate and involved work flow in post so be it.
 
David Rasberry said:
... 4/3 size at 4k, S16mm size at 3k and 2/3" size at 2k. ...THAT would be my ideal Scarlet.
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Agreed. With a choice between S-35 4k and 2/3 3k, I'd choose S-35 hands down, but if it were 4/3 4k I'd have to seriously consider Scarlet.
 
David Rasberry said:
I like this analogy. The whole point of shooting Red is to have more creative latitude with the image. If that means a more deliberate and involved work flow in post so be it.
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That is, what I feel, sets RED apart. It's built to create quality motion images to replace 35mm film as a production standard.

The workflow requires the insertion of craft. It's not point and shoot mentality

David
 
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