Welcome to our community

Be a part of something great, join today!

Log in
  • 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 :)

Any feature films shot with Scarlet-X?

C

Caden Nash

Well-known member
Joined
Dec 15, 2011
Messages
159
Reaction score
0
Points
0
All I've been hearing and reading is big movies that have been shot on Epic or Alexa but no Scarlet. Any films, so far and where are they?

Please post YouTube or Vimeo trailers or links? Like to comprise a list including list of lenses used on the shoot too.

Love to know what films are shot with Still or Cine lenses.
 
I've shot 2nd Unit, VFX, and B Roll material on the Scarlet for features this year, but I haven't seen a major production use it as the main camera yet. I've used both still and cine lenses.

No real reason for it not to be used as the main camera on those bigger shows, but it's been used plenty on smaller budget projects.

Epic is the flagship camera and big productions usually go that route for 5K and frame rate flexibility.
 
I don't know about features, but I thought I heard of some relatively high budget TV shows being shot on Scarlet. A couple on the CW maybe? I'm sure some of these episodes have a similar workflow to modest features.
 
Pretty little liars is shot on scarlet as A cam. Also i just wrapped a feature a few weeks ago. we Shot using my Scarlet and Contax Zeiss lenses for entirety of movie. It was incredible. when a trailer comes out for it ill send it this way. Its called "ghostlight"
 
I can name one, that I'm shooting starting next Thursday! We are below micro budget in USA terms but here in the UK it's standard first film fare. I'm producing and DP'ing with the support of an operator and a 1st AC. The film is a psychological thriller.

Why Scarlet and not EPIC? Other than the fact I own a Scarlet, because whilst I obviously think the oversampling nature of 5k would work well for our 4k finish, I can't see a use for the EPIC over Scarlet in this instance. We don't need slow mo, and while HDR would be handy from a technical perspective, I don't think the audience is going to be sold on our story/world etc more by HDR. There are many other things we need to get right than having 4 more stops available.

For reference, we are using Zeiss Cp.2s as there is so much handheld that I want the lightweight option for 4 weeks of shooting. We are lighting with HMIs, Kinos, Arri Juniors and LEDs. Our car mount stuff is Cinesaddle only and there is no jib/crane/steadicam/dolly/slider in any of the film.
 
Phil Holland said:
Epic is the flagship camera and big productions usually go that route for 5K and frame rate flexibility.
Click to expand...

Thanks, Phil. Is everyone shooting on 5K and then downressing to other formats from? I thought 4K would be adequate.
 
My scarlet just got off a month rental from a feature so yes, depends on the budget of what camera they will go with. The budget of that feature was 750k. they also rented Cooke s5's.
 
Jon Carr said:
My scarlet just got off a month rental from a feature so yes, depends on the budget of what camera they will go with. The budget of that feature was 750k. they also rented Cooke s5's.
Click to expand...

Not bad budget.
 
Caden Nash said:
Thanks, Phil. Is everyone shooting on 5K and then downressing to other formats from? I thought 4K would be adequate.
Click to expand...

This will entirely depend on the productions needs and lens choices really. I own a Scarlet and 4K is great, but you can get a crisper image out of that 5K. It really just depends. Not really a "standard" answer for this one.

In terms of studio throughput when I've worked with Epic at 5K we create 4K/2K DPX or EXR and work from there. The .R3D data is backed up at the time of ingestion in case more needs to be done to the material on the color correction front. Basically a baked frames are made for production to get started to work on and also quicktimes are created for editorial to slap it into the edit. Then the colorist performs a color correction with the rest of the sequence. Once approved it gets flagged as a new version and "published" for everybody to use. In houses with more DI inclined workflows further creative color grading can happen and again it's published or finaled depending on the pipeline.

This is basically what happens, but I'm sure other studios have a bazillion ways to deploy a fileset. I've also seen 5K stay at 5K which is nice. The main reason for creating an "intermediate" DPX or EXR version is to allow artists to work on a format that is friendly with their software packages and even if their package supports .R3D natively to take the human error variable out of the equation by not having multiple people controlling the look of the material.

When I was a pure digital colorist years ago I controlled the correction and grade on all material that was ingested. This was a preference thing and certainly hammered down on the possibility of color chaos happening due to a communication or human error.
 
We've had a few people rent our Scarlet for features. Medium budget indie kind of stuff, but still - it's definitely getting used. Like Jon said - no slow-mo, no VFX, didn't need 5k, and wanted to repurpose the extra money saved for other stuff (lenses, crafty, whatever). Plus shooting 4K can save quite a bit on the storage side too.
 
You must log in or register to reply here.
Back
Top