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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 :)

13th responses here...

I am interested in FF35 models. I have no PL mount lenses. I have Nikon FX lenses. Someone here told that cinema lenses are different than still lenses. Is that true? Doesn't supreme Nikon lens generate supreme cinema images? In what part are cinema lenses different that still lenses?

Also I would like to know what is the real difference between Redcode42 and Redcode225. Is it compression ratio? For example Redcode42 is about 5,35 times more compressed (225 divided by 42)? If so, will we be able to notice the difference in 1080p?

Regards
Ocean
 
Dear Jim

First off let me start by saying that I havent had a chance to go through ALL the news in fine detail yet but here are my initial thoughts.

Confusion...the new range is way too complicated and cluttered and I think you are getting caught up in this resolution is everything mindset. Lets be real here, we're already shooting 4K and for 90% of users this is more than enough as we're ending up with 2K or more likely 1080p masters at the end.

Increasing the latitude is good and 13 stops make me smile:biggrin:

I feal that my Red One is now no longer the shiny new sports car, its last years model and I'm struggling to get my head around what you are thinking here. Your new range is just silly and doesn't make sense.

What I was wanted out of Scarlet was a Baby Red that could shoot at up to 2K resolution, the option of high frame rates for nice slo mo + the ability to work with stills camera lenses. That's all! Instead Scarlet has knocked the value of our Red completely and I'm feeling a little bit dissappointed here.

Don't get me wrong, I'm delighted with what you have delivered in the Red One...it's size and weight are my only real gripe but this is addressed with your new cameras.

I'd like to have seen more effort made by you to get the workflow of your exisitng camera sorted before you moved onto new toys that will ultimately require new workflows!

Just my initial thoughts.

Scott
 
There is a lot that can be said and done about all these announcements, but we just want to let the people at RED know that we do not regret purchasing our RED One, we really look forward to RED 3D(!), and we are thrilled about what you guys are doing.

How big can your middle finger towards the competition grow? Awesome! :) Hats off and congratulations! Now please make a call to Apple to get them focused on important things again as well. Rock on.
 
Jannard said:
Scarlet will NOT have all the capabilities of a RED ONE. It can't given the size constraints of the boards in the "brain". If you want flexibility and choices... upgrade your RED ONE or upgrade to an EPIC.



Jim
Click to expand...



I don't think new cusomers will pay $17,500 for a Red One Body with Epic and Scarlet on offer. Scarlet offers nears as damn it the same performance or better, for a fraction of the cost. Epic will appeal to the more serious film-maker with bucks. The future of new gizmos/compatability lies in the bodies of Epic and Scarlet.

I'm sure you'll honour your commitment to keep Red One's up and running but I think most people now feel they have just bought into an old product line which has effectively been superceeded both in design and performance only months after it's release. Not that we weren't aware this would happen, but I didnt even think this cam was solid enough to be out of beta - 1.5 min boot up time, random software crashes, dodgy connections, joystick falling off, audio boards are not up to scratch (mine hums until replacement) and the accessories are not up to industry standards in my book, not near.

Im all for new announcements and I accept that things move on. If you were Apple you'd just say 'shit happens' and that would be the end. But I guess we felt we were part of this journey and we were buying into something that was evolving. I think the trade-in plan is great against Epic - but personally I can't afford that so it isnt much of a great thing for me. I might consider trading Red One in for credit against Scarlet and accessories though. Especailly if it was lighter/smaller and has a more advanced sensor. That would have been a good offer, but I appreciate it doesnt do great for your business.

More importantly, I spent more than $17,500. I spent over $12,000 on accessories, some of which always looked like a stop-gap or first production betas. Again, I never compained too much because I was on the ride and I took the plunge thinking better solutions would come and things would be 'fixed'. Like the shoulder dovetail being loose (not that I really want to bring that up again)... I was really shocked when I saw how the bottom plate mounts to the camera, looked like it would snap easily (and some did) - and it wasnt cheap. Red Handles that never grip to the rods too. The arms to attach the EVF escpecially are pretty much useless, they flop around like they are drunk, and we all paid for them.. Now all that seems to be yesterdays news, old accessories now replaced with parts that work. I know you've done a lot for your customers, but I have to say some of that was Red putting things right which I expected them to do. Now I feel people jumping in 8 months later are getting a better deal and what looks like more solid accessories. I could have 2 scarlets plus accessories for the amount I spent on my Red One and accessories.

Call me greedy but I expected a bit more commitment to the people who bought your prototypes than 14% off a scarlet one time deal........ sorry. Im not screaming or shouting because I still have a camera that works. It's just the way I feel.

I can still use my Red to make great looking stuff, the camera itself makes beautiful images and that's the main thing. I still have it, and I love it. Truly revolutionary. But we put up with the flaws because it produces amazing pics. But I do feel that I jumped into something as a tester (I put a deposit down before a working protoype was seen and when the hope was it would be as portable as a Z1!), bought it, and now you've found a way to do it all better, cheaper, (which is expected in time) and I'm left behind the newcomers, after being told I'd be looked after. So even though the Red is upgradable to a new sensor, it's lifespan will surely be somehwhat shorter than that of an Epic and Scarlet now you have 'got it right'. Accessories/ergonomics are not likely to improve for the Red One either. Is a boot time of 40 seconds still a target?

Rant over. But you asked for responses here, and this is mine. Great new products you have. I'm not actually raging here, just offering my honest thoughts. I'll live with it and I'll make some films too! I just thought you'd look after us small guys a bit more.
 
Ocean said:
I am interested in FF35 models. I have no PL mount lenses. I have Nikon FX lenses. Someone here told that cinema lenses are different than still lenses. Is that true? Doesn't supreme Nikon lens generate supreme cinema images? In what part are cinema lenses different that still lenses?
Click to expand...

You might be interested in this post on that subject.
 
Daniel Browning said:
For the same reason that S35 cameras don't have S16 lens mounts: they don't have image circles large enough to cover the format.
Click to expand...

Sorry...that's obvious, I was assuming with the crop that just about everybody has been speculating on. The big benefit would be 2 extra stops of dynamic range which the S35 Epic wouldn't have (in fact I'm surprised it has a DR no better than the Red One).
 
Dear Jim and Red team,

Thanks for your hard work and product support.
I can now see why Jim gets very little sleep, He,(they) are on the ride of their life!
Thanks for having me as a passenger on this ride, I love it!

So you have know expanded your product line to allow people from all budget areas to become users....Smart...very smart!

A strong Red Digital company with a diverse product line will benefit us all !!!

Best Regards
Dave
 
How is it possible that a S35mm camera can shoot 30fps@5K, but at the same time cannot shoot 3K@120fps from a 2/3" sensor crop.

Small body? Lesser Electronics?

Isn't 30fps@5K a heavy enough burden?

5K is almost 3 times more pixels than 3K.

So, dumb math - 3K@90fps should be possible.

I don't understand.

:blink: :waaa:
 
Does anyone know what picture aspect ratio can Scarlet 6K generate? I think the sensor size is 3:2 and if I want to use picture aspect ratio of 2:1 then the sensor will be cropped right?
 
Häakon said:
Please don't take offense to any of these points; I'm not singling you out. I just saw your post and thought there were good areas to respond to. Anyway, that's what I think. :)
Click to expand...

Hey, no offense taken. There are some good points you made in your post. Maybe there are a lot of shooters looking for a Scarlet with B4 mounts. Time will tell. But I still don't understand the FF35 option. Why don't they make it only one thing?

Why can't a FF35 sensor offer a crop function and PL lens mount support? We shouldn't be struggling with still camera lenses in that price point.
 
Hey did I get it right that I can start with a Scarlet brain and build around that, then just swap brains as my needs go up? Without having to buy new accessories I mean. Might be Capt Obvious greeting but I want to be sure.

Also when I get the lowest Scarlet will I be able to get the lens plate for whatever lens I want or just what's listed on the page for each model? My guess is that one would be able to order them from the red store as accessories later.

Now I kinda want like GameBoy cartridges with the sensor in them so it's an easy swap :whistling:
 
Also interesting to know how much will cost brain upgrade from Scarlet S35 to FF35...
 
Lets make the slogan obsolete

Lets make the slogan obsolete

I am surprised that RED continue to use the "RED renders obsolescence obsolete" slogan.

Whatever a lawyer would say about the definition of "obsolete" its use by RED clearly has been interpreted by a significant number of RED customers that any new sensors, features and technologies can be installed in a RED one.


It should be dropped as it is an in-your-face reminder for RED one owners that they (apparently) cannot have the complete new and improved feature set of Epic... without buying an Epic.

Nor can they move the internal electronics from RED one into the smaller EPIC body.

So RED one a new camera, that only recently was declared fit for day to day production use, is about to be outgunned by the new and improved product.

So its time to make the slogan itself obsolete, although based on some posts here, it will remain ringing in the ears of those RED one buyers naive enough to have based part of their decision to buy RED upon what turns out to be much more of a promotional slogan than a promise.


On a positive note, cross camera compatibility of the viewfinder and power supply is worth noting.


Mike Brennan
 
motion digital still gives you a lot more than megapixels. We are already seeing with redone that shots that cannot be obtained with a normal still camera are being had. I'm talking magical 1/25th second shots that even the fastest and most professional still photographers cannot get except maybe one in a hundred.... At the moment the industry is reliant on standards and practices that not only make it difficult but are false in the approach. Fashion and sport and weddings, these cameras will give those photographers a distinct advantage, new work practices and the end result for the observer of those images: The object of desire, in a way that has never been. Also there is the video. Give your client both video and stills...? So for half the price? Who are they going to go to. Its the technology and how it will be used that is king here, not so much resolution.. People dont mind resolution but content is king... This technology lets you obtain more natural, humanistic and highly desired footage and that is what goes on your portfolio and that is what clients make decisions on...
 
How many bits in the A/D?

How many bits in the A/D?

To make the most of 16 bit recording a move away from 12bit A/D to +14bit A/D would be welcome and so bring the new cams into line with newer Sony HD cameras, domestic camcorders and DSLRs.

Heat dissipation is a bugbear of 14 bit A/Ds, I wonder if the camera casing will work more to help dissipate heat (acting as a heat sink) or will its net effect be to contain it?



Mike Brennan
 
Curran Giddens said:
Nobody from RED had said it isn't possible to put a PL mount on an FF35 and crop the sensor to a lower resolution. We are all just waiting on confirmation.
Click to expand...

And here it is:

Jarred Land said:
Just wanted to clear up a little confusion, caused by use leaving the option off of the Brochure. ( sorry )

The RED Interchangeable PL Mount will be switchable between both the Epic and Scarlet FF35 Brains.

Of course, most PL lenses do not have a Full Frame image circle, so you will need to shoot in a windowed S35 mode.
Click to expand...
 
that is a lot of replys for ONE Day. Yes, we are all ready to hand over our credit card info. Has Jim stated what FPS will be available for the different SCARLET sensors? Maybe you could pay to buy extra FPS at 4K, 3K etc.... or pay extra for RAMPING capabilities. i would love to know if they intend to create a PANAVISION mount or where the dispute with P&S tecknik ended? Two great products, should go hand in hand?? Please Jim, consider Panavision mount, and thank you for providing us with the tools to make better quality content..
 
Battery module with dual slots. Seems to allow for swapping batteries without having to power down the rig.
 
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