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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 :)

Worthy competitor for the EPIC??

Tom Lowe said:
When I buy a desktop CPU, do I get upset when a new CPU with nearly double the power comes out a year later??? To to the extent that Red possibly "cripples" the Scarlet (there is no evidence of that on hand), then I completely disagree with it. I think new products should be launched when they are ready -- end of story. I say, let the crybabies cry. I want the best, fastest, cheapest technology possible, the minute it's ready. Crippling new cameras to protect older, more-expensive ones is a bullshit practice, IMHO. Sony been's doing it for a long time.
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Gotcha, I see what your saying.
 
Quick example: Sony VX-1000, the first mini-DV camcorder, had "unlocked" audio. Why? Presumably to keep broadcast news operations from buying a $3,000 camera instead of a $25,000 shoulder mount BetaSP rig. I'm sure we could do a whole thread on these kind of market segmentation cripplings and Sony is far from the only offender.

IAC those days are gone. Competition is too fierce these days for anyone, even Sony, to castrate their products to protect higher end models. I do think there is a space between the FS700 and the F65 that makes sense for Sony to service but perhaps less than they imagine.

FWIW I questioned the Scarlet value proposition myself when it finally came out. While the Scarlet brain is quite a bit cheaper than the Epic brain, all the other costs of digital cinema production are roughly the same. Sure, you could cobble together an indie dreamer kit for under $20,000 thanks to Scarlet and for some people that's a huge thing - good on them. For a professional production operation the infrastructure required to properly support either Scarlet or Epic would make the delta between the final tallies insignificant for most companies.

IMO the real opening in the marketplace is for a 4K point and shoot under $10K. Has Sony actually done the 4K update promised for the FS-700?

I posit that due to the cost of high resolution optics, OLPFs required to control aliasing on single sensor Bayer CFA based cameras and data rate concerns; that the wave of nominally 4K cameras hitting the market will resolve far less in practice. It will be interesting to see how much default sharpening is done in camera to compensate for the OLPF. Sony has a history of over sharpening their image in an apparent attempt to "sell" new technology (most of their HD models). Graeme has been stalwart in holding the line against aliasing on the RED cams, so much so I've occasionally had producers kvetch about softness (easily fixed in post, but I digress). IMO, as display tech evolves, the true horror of aliasing will diminish the beauty of over sharpened imagery. Kudos to Jim and the rest of the Red Team for taking the longer view.

Cheers - #19
 
Rehan K said:
Business away from from F3? That doesn't even mske sense. F3 is discontinued. B&H doesn't even have it in stock anymore. No Longer Available
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Like Sebastian said, only the non S-Log version of the F3 has been discontinued. The F3 with S-Log will be around for a while more...
 
Matt,
I've read your post, but the price of the camera + external recorder doesn't seem right.
Is it possible the specs & prices may change on the day of the announcement?
 
Specs won't change, but price may come down a bit since everyone said are you crazy charging $19k for a recorder... People who purchased the FS700 for $7,000 wouldn't spend more than twice that just to record 4k. So we shall see.
 
Matt Ryan said:
Specs won't change, but price may come down a bit since everyone said are you crazy charging $19k for a recorder... People who purchased the FS700 for $7,000 wouldn't spend more than twice that just to record 4k. So we shall see.
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If a $19k recorder is the only option for pulling 4K off the FS700, Sony are going to have a lot of angry owners on their hands. I suspect we'll probably see the Ki Pro Quad and Gemini 4K able to couple with the FS700 though.
 
Matt Ryan said:
I already told you the specs and what is coming.... Read my earlier post. I was at the Sony Hands on Demo focus group....
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Everyone who has seen the camera and been part of a presentation has had to sign a NDA to my knowledge. How were you exempt?
 
KETCH ROSSi said:
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I wish that wasn't a hoax if only because I really hope true cinema cameras with full frame (36x24mm) sensors are on the horizon.. Allow you to window to whatever format you'd like. All of the newly announced anamorphic glass coming to market make that a drool worthy combination in my eyes.
 
Chuck Z said:
Everyone who has seen the camera and been part of a presentation has had to sign a NDA to my knowledge. How were you exempt?
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+1, just curious, and thanks for the info
 
Chuck Z said:
Everyone who has seen the camera and been part of a presentation has had to sign a NDA to my knowledge. How were you exempt?
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I never signed one, and was never asked to... Surprising I know..
 
Matt Ryan said:
I never signed one, and was never asked to...plus once they started RED bashing I thought F these guys haha.
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Well, now that Sony has full resource directed at super35mm sensor and 4K, I understand why Red fans would be scared to death.
 
EOSHD claims that specs and pricing are different than what Matt Ryan has posted here.

Exact quote: "Specs and pricing different... All positive. Very positive."
 
Rehan K said:
Well, now that Sony has full resource directed at super35mm sensor and 4K, I understand why Red fans would be scared to death.
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Scared to death. Not me. I was never a fan of Sony. I have never owned a single piece of Sony video gear. Panasonic on the other hand...
 
It's good to see sony come out with more 4k cameras while RED is already at 5k and soon to be 6k.
 
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