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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 :)

LEO @ ISO 2000

Richard Darge said:
Please don't release Scarlet or Epic ASAP... I need to ROI my MX upgrade first.. :)
Click to expand...

Hmm...I don't share your feelings on that. There are a lot of us out here who work in a myriad of non-narrative genres of production, love what we're seeing from the M-X sensor, but are anxiously waiting for the higher frame rates, resolutions, and RedCode levels of Epic, and the "go everywhere with me" utility of Scarlet. To me, the sooner they both arrive, the better :)
 
I'm with you Steve. I was just making some fun! I can't wait to be lightweight and portable with high speed 5k too
 
I knew that...but I just saw a chance to get on a soapbox for a minute :)

The M-X sensor footage looks extraordinary. Gonna be way cool to cut Epic X loose in over-cranked 5k for certain genres...

Then there's the 541,287 uses I'm sure I'll have for Scarlet...

As soon as they're ready, bring 'em on...
 
As long as it's the latest soapbox with no noise or skew, we're all good .. back on topic now.
 
Steve Gibby said:
Hmm...I don't share your feelings on that. There are a lot of us out here who work in a myriad of non-narrative genres of production, love what we're seeing from the M-X sensor, but are anxiously waiting for the higher frame rates, resolutions, and RedCode levels of Epic, and the "go everywhere with me" utility of Scarlet. To me, the sooner they both arrive, the better :)
Click to expand...

I agree with Steve... while I would love to have the ROI on the upgrade, having the features of Epic will be better and worth the cost. This camera is worth so much more and I do not consider it a loss to purchase the upgrade now and the Epic even if I did not make the full amount of the upgrade between now and then.
 
Fun times now...and fun times ahead :hurray:

This is one of the coolest times ever to be in the motion media industry...in large part due to progressive products from forward-thinking companies like Red.

Thanks Red Team...
 
I'm prepping a pilot that will use Red Ones and we're looking into EX1's and Canon DSLR's for B-roll action shots, something that would be perfect for the Scarlet once it becomes available. I can see the 2/3" fixed-lens Scarlet replacing the EX1 on a lot of shoots for those sorts of shots.
 
I hear ya on that David...I totally agree.

Beyond that, I see the fixed lens Scarlets being the A, B, and C cameras for a lot of mobile non-hardlined EFP productions with moderate to small budgets. There's a long list of genres the fixed lens Scarlet should be capable of - especially with matching 2x extender and zoom-through wide converter lenses available for quick add-on and removal.

If they were cars, Epic will be my special occasion ride - and Scarlet will be my everyday ride :)

Personally, I'll start my kits with two fixed lens Scarlet, one Epic X, and one FF35 Scarlet. Then when FF35 Epic is available I'll add in one of those. For others on smaller budgets who don't need the higher frame rates and RedCode levels, a fixed lens Scarlet and a S35 Scarlet should be a great 2-camera kit.
 
Why do I believe that the S35 Scarlet will produce better results than a Genesis?
 
I am hopeing they will release Epic and Scarlet as soon as they can
Red never striked me as the company who would let the MX upgrade profit as much as it can first and hold back the new cameras.
I respect them if they do, as they have given me so much.
But I hope they dont, because I wont upgrade until I can trade my camera in for the Epic system.
Just have enough money for that one time switcharoo :crazy:
Thanks Red
and happy shooting to those that do upgrade to MX with R1
 
Daniel Porto said:
Possibly because you are talking about a camera that was released 6 years ago...

Wait and see what they come up with next!
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Yes, exactly...I couldn't agree more. Perhaps 6 years from now
there will be small handheld camcorders that only cost say $400. that
will shoot footage completely worthy of big screen presentation etc. etc.
 
For PC users' convenience, I've uploaded a muxed H.264 transport stream of the clip.

I know when viewing the ProRes 422 file in QuickTime, the contrast and gamma are all wonky.

This should look normal on PCs with 2.2 gamma. The file itself is also legalized for Blu-ray authoring if you want to throw it up on your big screen.

Code: 
[url]http://rapidshare.com/files/348501316/leo_mx_iso2000.m2ts[/url]

MD5: 3A59A56B852033F5EDE03A3B9426A9A0

151,351,296 bytes
 
Jannard said:
You try pulling perfect focus while tracking in (in the dark) at T1.3. :-)

He actually did it once but it wasn't the best take. 3 takes at ISO 2000.

That's all you guy have to say about this clip?

Jim
Click to expand...

Jim, is this clip from the film Shutter Island? I saw it being advertised like none other during the superbowl. Looks familiar..
 
Did someone make a thread for referencing music for red reels? If someone does, a quick comment here would be nice for those who'd like to go and contribute!

Thanks!
 
Martin Stevens said:
Yes, exactly...I couldn't agree more. Perhaps 6 years from now
there will be small handheld camcorders that only cost say $400. that
will shoot footage completely worthy of big screen presentation etc. etc.
Click to expand...

This is unlikely - target markets dictate compromises in quality control and most especially optics, along with other things. For example, the Gh1 has a crappy codec because most people use it for birthday videos, and then edit on crappy "EZ-Edit" software, and if the data rate were too high they would complain that they have to buy too many compact-flash cards or that their hard drives fill up too quickly. Joe Six-Pack doesn't notice mud and macroblocking, he just notices how cute his kids look. This is fair enough. He has just as much right to have a camera that suits his needs as we do. I mean, we've spent $400 a day on hard drives for our Red shoots (those were big days, but still, a bit rich for soccer-moms.) Would the average prosumer ever use the adjustments available in Raw format? Here is Quebec I've seen actual DOPs get the work flow totally wrong, adding to Red negative mythology as a result.

Sure data costs will go down, but there will always be other choices adapted to mass-markets or "prosumer" markets that we would not want.

My aunt would not want to take pictures with my 5D - too heavy, too complicated. If the 5D cost the same as her purse-sized snappy-cam, she would still prefer the fully automatic snappy-cam, and it is physically impossible to get great results from a camera below a certain size and weight, for reasons having to do with physics and light.

Cine lenses have mechanics and weight that would be non-optimal for stills photography, so we will always need to buy "specily act" cine lenses to get the very best results.

As such, pro cams will always be directed to a small niche market, and they will always cost at LEAST what Red costs, otherwise R&D could never be recouped.

Proof of how weird certain niches are is the fact that a PMW 350 costs MORE than a RED, despite being only 2/3rds and recording (at aleast without another 3K for a Nanoflash) to highly compressed 8 bit XDcamEx format. For me, this makes it a ridiculously inferior camera, that should cost 25% of what Red does.

But... People nonetheless buy it because it is somewhere in the middle between point-and-shoot and the level of knowledge, prep and post needed for Red, which we could call 'full-on cinematography'.

Many event videographers are not really cinematographers - some I know have not finished high school, let alone gone to film school or apprenticed with a master. I was recently at a cocktail party, was bored and decided to chat with the guy paid to cover the event.

I discovered that he didn't even know what "gamma" meant. He said all that "nerdy stuff" wasn't important. "you learn with your hands, on teh job" he told me with a smug grin as I watched him shooting crushed blacks and clipped highlights.

The initial qualifications of guys like this were the fact that they owned a semi-decent HD cam, and were stong enough to carry it around all day. For them doing things like pulling focus, chosing lenses, etc. would be just "too much hassle". For them the "best" easy to use, single-lens cam they can pop on their shoulder to film the bride or the corporate presentation is the most exciting option.

So... All this to say, there will never be all that many of us, with our particular needs. Low production run numbers for tools targeted to us will mean that they might get a bit cheaper, but not by much.
 
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Really amazing. Can't wait to shoot with it.

Is the sensor still daylight balanced? If it looks this good in match light (which is what, 1700k?), then wouldn't it look even better in daylight? Does this mean we'll be able to shoot with the light of the full moon?
 
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