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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 :)

10 Scarlet Questions with Joseph Hutson... Take 2.

I'm just as interested in SCARLET for photography as I am cinematography... we've seen some clips here and there, any chance we'll see some full-res stills taken from video any time soon?
 
Thank you for answering questions. (Although I came late to the party!)
 
Jason Svatos said:
I'm just as interested in SCARLET for photography as I am cinematography... we've seen some clips here and there, any chance we'll see some full-res stills taken from video any time soon?
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Have you taken advantage of the Scarlet .R3D that was released by Jarred a while back?

1294494585.jpg


http://red.cachefly.net/Chicken.zip
 
Hi Jarred, thanks for all the answers. My question, The fixed Scarlet was announced early on that its realistically 2.5K, is that still the case and how does it hold up on a 4k Screen? Thanks.
 
Roshdi Alkadri said:
Hi Jarred, thanks for all the answers. My question, The fixed Scarlet was announced early on that its realistically 2.5K, is that still the case and how does it hold up on a 4k Screen? Thanks.
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Lets assume for a moment that you didn't know that 95% of all feature films today (film or digital) are printed to celluloid from a 2K DI (Digital Intermediate), and that today the only way to achieve a "better than 2K" DI is to shoot with RED or 35mm, It would be safe to say that a 3K sensor (resolving down to 2.5K resolution) would look awesome on screen. Even from a 2K DI.

As far as 4K DI, since you can mix 1080p with 4K material on a 4K DI with "acceptable" visual distraction, I would guess 3K material would be nearly imperceptible.
 
You CAN uprez to 4K, but with the advantage of debayer when going down to 2K I rather have a 2K image with alot of depth then a 4K image that's not optimal.
As always, what are you going to use the camera for? If you are doing a large feature film for theatre release, then why not rent an Epic? I see the Scarlet as the most awesome camera for other distribution forms, BUT it works for cinema as well (there's alot of feature films shot in 1080p, and most people can't see the difference between higher then 1080 and 1080p footage at certain distances).

Remember what you are going to use the camera for, people seem to forget this and just want most bang for the buck. I tend to also look at stuff like how would I store all the footage? If it's MY camera then I need to backup all my data and having an Epic with a lot of 5K footage, maybe in HDRx will be a hell of a lot more then Scarlet 3K footage.

So, buying a Scarlet and an LTO backup system instead of buying an Epic and nothing to store the footage with is a better workflow in my opinion for the home studio.
 
Good flow of info here, all I can say is that in its Prototype mode, SCARLET impressed us a great deal, the lens design and ergonomics fit very well, and the one ring control for Iris,
Zoom and Focus, are nothing short of revolutionary, we'll need a moment of getting adjusted to, but once you do, I suspect you will LOVE IT!!

Keep up the good work Joseph, just make sure to keep the info you give out regulated, Jarred has a very Big and heavy hand, he he... ;)
 
Thanks a lot for the advices, Christoffer. It's greatly appreciated.
 
I must say that the fact the c-scarlet won't come soon with anything other then mini prime lens mount is a huge kick in the teeth for me. For the type of work that I do, I need to have zooms. Is the mounting plates for canon lenses critical to Japan supply, or is a time issue that you guys are so busy getting camera out that "extras" will come later. Would love to see these timed with release of the camera. I dropped 12k on canon lenses in anticipation that it would.
 
Michael Dalton said:
I must say that the fact the c-scarlet won't come soon with anything other then mini prime lens mount is a huge kick in the teeth for me. For the type of work that I do, I need to have zooms. Is the mounting plates for canon lenses critical to Japan supply, or is a time issue that you guys are so busy getting camera out that "extras" will come later. Would love to see these timed with release of the camera. I dropped 12k on canon lenses in anticipation that it would.
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If you have that much invested in Canon lenses, still lenses I presume, then Epic-S would be the better choice for you. You need the S35 sized sensor.
 
Pascal Payant said:
Just to clarified. The Canon L series lenses and nikon lenses will work with a Canon or nikon adapter after the release right?
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I wouldn't think you'd want to use DSLR lenses with Scarlet. The actual Scarlet focal lengths are about 7.5-58mm. That means a 50mm "normal" SLR lens would be extreme telephoto for Scarlet.

D
 
I'd use the fixed for anything close. I wanted the c-scarlet to use with telephotos for wildlife. Epic-S is a must have for me, but I work fast and often shot lots in a day (40mins-1.5hrs) and 5k, in remote isolated area, and away from power is challenging. End result is HD, so in a bind I can always use the RGB files on scarlet which would save space, power consumption (on my computer through transfer time).

Red has been kind to offer a few cameras that would work nice in many situation. Action like wildlife capture where it is run and gun = S fixed. Remote ares with need for lens variety = S fixed plus s-cine. When I'm shooting straight wildlife or volcanos with power and transport around, then I'll shot Epic.

Canon glass is light. I'm just on Mt. Etna shooting the volcano, and a guy was with me with a red one, and he struggled the whole time, and was very limited. Camera + glass and climbing = death. And that Etna which is the most civilized place I have ever shot.

My budgets, location, and type of work I do does not allow for crews, so I need to carry everything myself and often with long hikes or mt. climbing. Scarlet will be nice for this.

I understand that RED has priorities, so I don't fault them. It's just a shame to have to anything in something other then best quality possible.
 
David Dennis said:
I wouldn't think you'd want to use DSLR lenses with Scarlet. The actual Scarlet focal lengths are about 7.5-58mm. That means a 50mm "normal" SLR lens would be extreme telephoto for Scarlet.

D
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I did not realize this!!! thanks for pointing it out to me....crap. I guess scarlet is really meant to shot with mini-prime and lens specific.
 
Michael Dalton said:
I did not realize this!!! thanks for pointing it out to me....crap. I guess scarlet is really meant to shot with mini-prime and lens specific.
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Im sorry but I find this glass to camera combo FAIL very amusing... :smilielol5:
 
Michael Dalton said:
I'd use the fixed for anything close. I wanted the c-scarlet to use with telephotos for wildlife. Epic-S is a must have for me, but I work fast and often shot lots in a day (40mins-1.5hrs) and 5k, in remote isolated area, and away from power is challenging. End result is HD, so in a bind I can always use the RGB files on scarlet which would save space, power consumption (on my computer through transfer time).

Red has been kind to offer a few cameras that would work nice in many situation. Action like wildlife capture where it is run and gun = S fixed. Remote ares with need for lens variety = S fixed plus s-cine. When I'm shooting straight wildlife or volcanos with power and transport around, then I'll shot Epic.

Canon glass is light. I'm just on Mt. Etna shooting the volcano, and a guy was with me with a red one, and he struggled the whole time, and was very limited. Camera + glass and climbing = death. And that Etna which is the most civilized place I have ever shot.

My budgets, location, and type of work I do does not allow for crews, so I need to carry everything myself and often with long hikes or mt. climbing. Scarlet will be nice for this.

I understand that RED has priorities, so I don't fault them. It's just a shame to have to anything in something other then best quality possible.
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As you know I shoot a lot of travel, sports, wildlife and documentaries which have the same logistical and optical requirements you described. I did tons of that with Red One from 2007 to this year. What's my approach to that type of shooting with Epic and Scarlet? My usual kit will be a fixed lens Scarlet with 3rd party wide converter and 2x extender, lots of Red Volt batteries, several SSD cards, short shotgun mic, a Miller Compass 25 head/Solo CF sticks combo, and a small Cine Saddle.

When I need faster frame rates and/or higher resolutions than 3k I'll take along an Epic X with the electronic mounts and lenses I need - either Red electronic lenses, Canon lenses, or Nikon lenses (or a combo of those), and multiple electronic mounts and quick-change them in the field as needed.

For mobile genres like you described I frequently work alone but occasionally have one assistant along. We either hike in the stuff via backpacks or when appropriate we use mountain bikes towing small cargo trailers containing the equipment. To get there we often use a 4x4 truck, then a 4x4 ATV, setup a base camp, then hike in using backpacks.

Other times I produce/direct/DP much larger crews (10 to 80) shooting more stationary genres (music events, etc.). Our setups for Epic and Scarlet will basically be the same for that though - lightweight mobile Scarlet Fixed and Epic X with electronic lenses.

Me and my crews work in some of the most demanding and dangerous mobile work done by anyone. When planned right, and done by experienced pros like you and me, mobile non-hardlined EFP and hybrid style production with Epic is a breeze - and will be the same with Scarlet.

My good friends at Red need to get a Fixed Scarlet in my hands for some field testing, and then I'll be able to shed some light on the broad capabilities of the camera for mobile genre production. After all, I was in the Red "family" long before basically everyone here, except just a few members of Red Team.
 
I expect Scarlet Fever to result in a rash of good looking bad indies... is there a button where it will automatically shut down when exposed to bad acting and story?
 
I think the goal of the Scarlet will be to use this great camera with any type of lenses. it make no sense to go buy a big epic camera to use other type of lenses when you want to work with a scarlet resolution and price.

Scarlet will be one of the best camera.
For real indie feature film. I don't think mini primes or fixed can be the greatest option. you want great macro. you want to change different lenses for different shot. I hope they create lots of different adapter for different lenses.
 
Pascal Payant said:
I think the goal of the Scarlet will be to use this great camera with any type of lenses. it make no sense to go buy a big epic camera to use other type of lenses when you want to work with a scarlet resolution and price.

Scarlet will be one of the best camera.
For real indie feature film. I don't think mini primes or fixed can be the greatest option. you want great macro. you want to change different lenses for different shot. I hope they create lots of different adapter for different lenses.
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Doesn't make much sense to use lenses optimized for 35mm format cameras on a 16mm sized format. The fixed apparently has pretty good macro capability as is. The sample video showing a closeup of the auto-focus function of a Canon lens on an Epic demonstrated this. The focal length ranges covered by the fixed and the mini-primes is more than adequate for most purposes. Fixed range is equivalent to 28-224mm on a FF35 still camera. Mini primes cover a slightly broader range from 24mm-280mm equivalent. With high quality extenders that range can be broadened quite a bit.
 
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