NO SCARLET???.... BUT STILL RED ONE MX...

[Rick Augustus]

While searching for a list of films (Major and/or Independent) shot on RED ONE, SCARLET, & EPIC, I came across this http://en.wikipedia.org/wiki/List_of_films_shot_in_digital and couldn't help but notice that NOT A SINGLE film credit was given to the RED SCARLET (which I own). Even the Canon 1DC was given credit on Ironman 3 along side the EPIC. Now that kind of made me wonder, why, if my beloved SCARLET is/was supposed to be an upgrade or predecessor to the RED ONE MX, are some of Hollywood's biggest companies still shooting on R1 as opposed to the SCARLET?

Don't get me wrong, I love my SCARLET and can't wait for the day that it's upgraded to an EPIC (very soon), but I have to admit that it was a bit discouraging that NONE have chosen to shoot even 2nd or 3rd camera (before Canon 1DC)... Am I missing something here???

What are some of your opinions as to the reasonings behind this???

 

[Noel R.]

For a large feature who have the budget I think the question is why not choose Epic? Especially with the flooded market, the cost of renting an Epic has plummeted. The Scarlet is used on features, but more as a B-cam.

 

[Rick Augustus]

Noel, I totally agree, but the main reason for my question was, why RED ONE MX is still being chosen over Scarlet, EPIC would always be the way to go in my opinion... As you can see from the list there are quite a few films in 2012 and 2013 that were shot on RED ONE MX... This has just caused me to ask myself if I purchased the wrong camera...

 

[Adam Johnson]

I'm getting ready to shoot a feature film for a major tv network on Red One MX and my b-camera is my Blackmagic 2.5K. I used to own a Scarlet but I like the overall features of the Red One MX a lot more. And it is much easier on the wallet . Don't get me wrong I much prefer the size of Scarlet! I think there are soo many more Red One's out there that they are simply in the hands of more people and further entrenched into the business... I wouldn't hesitate to shoot a feature on any of the RED's!

 

[Noel R.]

The RED One does have slightly better image quality than the Scarlet, 4.5K over 4K, and I believe it does 59.94 fps @ 3K and 120fps @ 2K. Other than that I'm not sure why anyone would use a RED One over a Scarlet? The Scarlet is a perfectly capable camera. The RED One is a monster in comparison to the form factor, I wouldn't trade it for a RED One. You can always upgrade your camera. The RED One is EOL.

 

[Steve Sherrick]

Size of camera is almost a non-factor in feature film production. Yes, there are certain times when size does really help such as 3D rigs and handheld. But otherwise, crews are used to rigging larger cameras. So I don't see the size of Red One being a limiting factor. Also, keep in mind that all I/O is built into the camera. On features, that I/O is always used so in some ways it's just an easier body to deal with because you don't have extra modules to deal with.

Now having said that, Epic is a great camera with many improvements over Red One and Dragon will take that even further. Scarlet is a great owner/op camera but has found little to no traction in Hollywood features because the Epic is the better choice. The cost difference between the two cameras isn't even a consideration for going for the Scarlet over Epic.

Scarlet is capable of making great images, it's just not going to be found on too many feature films that have the budget for the big boys. And Red One is still one of the big boys, although the numbers are going down steadily and will continue to do so with Dragon release.

 

[Samir Patel]

I'm happy I own both a Scarlet and a battle tested Red One MX however I still lust for an Epic. I think the use of R1 on features has much to do with it being out first. Maybe directors use it because they are comfortable with it. I felt Scarlet always was for the indy market. I like having both to cover myself when needing high frame rates. But the menus of the R1 are not as user friendly as the DSMCs.

 

[Peter Dmitriyev]

r1 MX is a more professional camera package and has better image quality than the scarlet, period.

 

[Gunleik Groven]

Never shot scarlet, but would be surprised to find any difference with epic at similar settings.

RED1 M/MX are very good cameras, though, and they seem hard to kill.

 

[Phil Holland]

While I have yet to shoot a major motion picture on Epic or Scarlet, I have used both on major motion pictures. Take that for what it is. Most of that comes down to my particular roll on said productions.

Hell, I've used lesser cameras over the years too.

 

[Brian F Kobylarz]

An additional reason why some would choose a RED One over a Scarlet - critical audio.

I've been in some situations where even the slightest fan noise from a Scarlet or EPIC has been met with stares of utter distain by the audio guys. Clients pay attention.

The RED One is dead quiet - never a ruined take as a result of fans kicking in.
This has been especially true when recording second system on a quiet set or soundstage.

 

[Tre Robinson]

This could quite possibly be because the RED One came first and Scarlet would almost NEVER be chosen over Epic in rental situations. There are too many limits with Scarlet. It's still a great camera, just very limited. I love my RED One MX and would feel like I digressed a bit should I end up with at Scarlet.

 

[Steven Dean]

I was Cinematographer on an indy feature this year with the Scarlet:

http://www.imdb.com/title/tt2520484/

Nearing the end of post production now.

Would have loved to have an Epic, but didn't really need it. I agree with the general consensus that the Epic will win over more often than not against the Scarlet, but for owner operators like me that didn't have the budget for Epic on it's release, it is an extremely capable camera. My initial delusions of making money renting the Scarlet went away long ago, but again, as an owner/op, I love it. That being said, hoping to get into an Epic in the new year.