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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 :)

What do you plan on shooting with FIXED Scarlet ?

Kalani Prince

Kalani Prince

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Aloha all, this is one of my first posts.. I've quietly been watching the progress of RED since it was just words on dvxuser.com and have just been blown away by the leaps and bounds this company has made in the past couple of years. Just wonderful

After weighing all possible options and price points I've decided that Scarlet Fixed will best suit my needs.. I plan to shoot a few tourism related DVD products for a distributor that already holds one title I've made on Hawaii's Big Island.. Just curious...

What will you use your Scarlet Fixed for ?

Love and Aloha, Kalani-
 
Last edited:
Practically everything my kids do :-)

Graeme
 
Documentary's and short films.

It will be perfectly adequate to do a narrative feature on as well but if you've got the money for a feature you'd probably have the money to go for the S35 since the price between the two is not too far apart relatively speaking.
 
I'd love to use the Scarlet FIXED for home movie type stuff :) JUst image, memories captured in 3k :)

But before I do so, I'd like to know how much the cards will cost me, how much I can store on each card, and how long each battery would last on a stock setup.
 
Record my self recording in the mirror.

Other than that, after a few months of excitement, many things that come in mind. Even shooting shorts for fun to practice.
 
dogs, swans, family ... :laugh:
 
ok. so i'm a complete newb and i am stoked about getting into film and directing. the reason that i'm loking for a scarlet setup is because i believe that your tools should limit you as little as possible as you learn any new craft. and obviously as you can see fro th Red One, the sky is the limit. i don't wanna shoot documentaries, family get-togethers ect. i want to shoot MOVIES, TV pilots/shows. period. i was eying the canon 5d and the 1d mark 4 but i just can't pull the trigger from things i've seen done with them. don't get me wrong the can handle indie films in the right hands but Steven Spielberg couldn't garner real movies or TV out of them. VDSLRS are good for weddings, indies, music videos and commercials but that's it. having said all that, my questions to you good, knowledgeable people are:

is 2/3 fixed scarlet worth my time? what's a good estated max that a ready to shoot, with all the modules, ff35 setup cost me? am i better off just spending 30k on a red one setup? if i could care less about shooting in 3k or 4k and 1080 is fine for now, what's an acceptable mac setup? the new quad imacs or does it have to be a macpro set up to even get some editing done?
 
heavyonline said:
ok. so i'm a complete newb and i am stoked about getting into film and directing. the reason that i'm loking for a scarlet setup is because i believe that your tools should limit you as little as possible as you learn any new craft. and obviously as you can see fro th Red One, the sky is the limit. i don't wanna shoot documentaries, family get-togethers ect. i want to shoot MOVIES, TV pilots/shows. period. i was eying the canon 5d and the 1d mark 4 but i just can't pull the trigger from things i've seen done with them. don't get me wrong the can handle indie films in the right hands but Steven Spielberg couldn't garner real movies or TV out of them. VDSLRS are good for weddings, indies, music videos and commercials but that's it. having said all that, my questions to you good, knowledgeable people are:

is 2/3 fixed scarlet worth my time? what's a good estated max that a ready to shoot, with all the modules, ff35 setup cost me? am i better off just spending 30k on a red one setup? if i could care less about shooting in 3k or 4k and 1080 is fine for now, what's an acceptable mac setup? the new quad imacs or does it have to be a macpro set up to even get some editing done?
Click to expand...

My tip: The craft of film making isn't about the gear or equipment you have, but the craft of telling a story. I suggest you go with the cheap stuff first, dedicate your time on telling a story. Then when you get good at that, then let the tools come in to help accentuate that talent.
 
My tip: The craft of film making isn't about the gear or equipment you have, but the craft of telling a story.
Click to expand...

I agree 100%. I work on Youtube videos with other filmmakers just for fun and the practice. I've worked on real films were the "Director" didn't know what he was doing and you just sit there thinking "Has this guy even made a film before?" and the whole crew is laughing at him behind his back. You can have the best gear and crew but if your script and skills are poor then your asking for trouble. Some Hollywood Directors have done nice work using just Mini-DV camcorders while there are 100's of crappy no-budget indi DV movies for sale on Amazon that are junk made by hacks. I've shot and made little films just for practice but I would not force anyone to pay for them. I do put them on Youtube to get feedback about which ideas the public likes and then I'll make a feature from the winning idea based on the number of hits i.e. the video with 400,000 hits is better than the one with 40 hits. Many of my Youtube videos are old shorts shot on VHS. You can get an old VHS camera with manual focus and iris for as little as $25 on eBay. These make great practice cameras. Nothing beats going out and shooting. Most of the time I worked with non-actors because I looked at these projects more like animatics to work out editing and lighting skills Vs worring about getting a great performance out of teen-agers. The practice is worth it in the long run. I have friends in their 40's who have never made a film because they keep waiting for the perfect " fill in the blank excuse". I'll just load up the van with kids and some props and go make up a movie on the spot. I'll edit that night and be done with it in 24 hours. Another Youtube video done. On a real set things can go wrong and you have to not panic. It is way better to be able to say " wow this is like the time we made that short video and here is how we fixed it then" VS "I have no idea what to do about this problem". Practice by doing. Learn from mistakes. Make your mistakes before you are using someone else's money. I started off in Super-8, then one inch reel to reel porta deck and a B&W tube camera (hello burn-ins), Beta, VHS, Betacam,16mm & 35mm, DVcam then back to mini-DV. The actors never cared what you were shooting with and the STORY was what they were drawn to. I have some stories I've been working on for 30 years so more than likely they will be what I shoot with the Fixed. Half the cameras I have owned have had fixed lenses so it is no big deal to me. Didn't a recent Box office hit PARANORMAL ACTIVITY, that was shot with the lead actor as cameraman for $11,000 on DV in one house make $106 Million in theaters? Gives hope to us all but it was the STORY IDEA that worked, not the production vaules or camera. STORY ( or gimmick, a good gimmick can get them in the seats too but as the producers of THE FOURTH KIND found out that more money, better actors and a real camera didn't translate in BO gold for them) Good luck to everyone here with their dreams.

Can we film those male nurses in 3-D?
 
Ken Waller said:
I agree 100%. I work on Youtube videos with other filmmakers just for fun and the practice. I've worked on real films were the "Director" didn't know what he was doing and you just sit there thinking "Has this guy even made a film before?" and the whole crew is laughing at him behind his back. You can have the best gear and crew but if your script and skills are poor then your asking for trouble. Some Hollywood Directors have done nice work using just Mini-DV camcorders while there are 100's of crappy no-budget indi DV movies for sale on Amazon that are junk made by hacks. I've shot and made little films just for practice but I would not force anyone to pay for them. I do put them on Youtube to get feedback about which ideas the public likes and then I'll make a feature from the winning idea based on the number of hits i.e. the video with 400,000 hits is better than the one with 40 hits. Many of my Youtube videos are old shorts shot on VHS. You can get an old VHS camera with manual focus and iris for as little as $25 on eBay. These make great practice cameras. Nothing beats going out and shooting. Most of the time I worked with non-actors because I looked at these projects more like animatics to work out editing and lighting skills Vs worring about getting a great performance out of teen-agers. The practice is worth it in the long run. I have friends in their 40's who have never made a film because they keep waiting for the perfect " fill in the blank excuse". I'll just load up the van with kids and some props and go make up a movie on the spot. I'll edit that night and be done with it in 24 hours. Another Youtube video done. On a real set things can go wrong and you have to not panic. It is way better to be able to say " wow this is like the time we made that short video and here is how we fixed it then" VS "I have no idea what to do about this problem". Practice by doing. Learn from mistakes. Make your mistakes before you are using someone else's money. I started off in Super-8, then one inch reel to reel porta deck and a B&W tube camera (hello burn-ins), Beta, VHS, Betacam,16mm & 35mm, DVcam then back to mini-DV. The actors never cared what you were shooting with and the STORY was what they were drawn to. I have some stories I've been working on for 30 years so more than likely they will be what I shoot with the Fixed. Half the cameras I have owned have had fixed lenses so it is no big deal to me. Didn't a recent Box office hit PARANORMAL ACTIVITY, that was shot with the lead actor as cameraman for $11,000 on DV in one house make $106 Million in theaters? Gives hope to us all but it was the STORY IDEA that worked, not the production vaules or camera. STORY ( or gimmick, a good gimmick can get them in the seats too but as the producers of THE FOURTH KIND found out that more money, better actors and a real camera didn't translate in BO gold for them) Good luck to everyone here with their dreams.

Can we film those male nurses in 3-D?
Click to expand...

Totally agree. Also something that new filmmakers seldom talk about and all to often overlook is good, solid audio. I'd save on cam gear to hire a pro sound guy any day of the week.. Never let your dad hold the boom !, unless he's a male nurse then it's fine cause most likely your soundtrack will need medical help..
 
heavyonline said:
ok. so i'm a complete newb and i am stoked about getting into film and directing. the reason that i'm loking for a scarlet setup is because i believe that your tools should limit you as little as possible as you learn any new craft. and obviously as you can see fro th Red One, the sky is the limit. i don't wanna shoot documentaries, family get-togethers ect. i want to shoot MOVIES, TV pilots/shows. period. i was eying the canon 5d and the 1d mark 4 but i just can't pull the trigger from things i've seen done with them. don't get me wrong the can handle indie films in the right hands but Steven Spielberg couldn't garner real movies or TV out of them. VDSLRS are good for weddings, indies, music videos and commercials but that's it. having said all that, my questions to you good, knowledgeable people are:
Click to expand...

I don't know where your filmmaking skills are, but a Scarlet would be way above 98% of the skill level of established filmmakers out there as it is.

I plan to shoot narrative short films with a Scarlet, if I end up getting one. And with a professional-level cam like that I think I'll finally start doing side DP gigs, now that I feel more confident with my DPing.

I've picked up a 7D in the meantime and I think I've already found the limits on my first test project (a semi-run&gun short film for school). I've already ran into the problem of noticeable aliasing, the codec can be annoying to work with, having to create offline copies and such just to make it work on my computer. At the same time, an S35-sized sensor and the mobile form factor has opened up a lot of composition freedom and overall I've been favorable with the trade-off. The Scarlet looks like it'll wallop the 7D in some categories and lose in some others. If somehow I have $5000 in my pocket after selling all my current gear AND the next generation of VDSLRs in 6 months haven't considerably closed the gap on a fixed Scarlet, I'll consider it.

As for the system to edit Red footage on, try downloading the new version of Red-Cine coming out and then testing it out with current RED ONE footage downloaded off the net. 2K actually ran just as smoothly as 1080p footage for me, so you might as well shoot 3K and just click on the 2K downsizing in Red-Cine. I don't think 1080p saves that much more hard drive space, either.

And Ken, I clicked on your IMDB profile wondering, is it THE Ken Waller of Pumping Iron fame?? :)
 
Kalani Prince said:
Totally agree. Also something that new filmmakers seldom talk about and all to often overlook is good, solid audio. I'd save on cam gear to hire a pro sound guy any day of the week.. Never let your dad hold the boom !, unless he's a male nurse then it's fine cause most likely your soundtrack will need medical help..
Click to expand...

Highly agree. I will never watch a video or a movie with bad audio.

Unless your story telling is sooooooooo good that I can watch it on mute and still enjoy it for what it is.
 
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