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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 :)

#4K4ALL

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Glen Powell said:
Yes - and at the end of the month I launch a channel on two large American cable companies to just over 24 million homes. All content shot on Scarlet / Scarlet Dragons.
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Certainly true that over the long run you want to be hired (and compensated) for your talent, not your tools. Ends up being much more rewarding (and liberating) in the long run. Also much harder to to. Kudos to you for getting there Glen.

best
 
Thats fucking impressive well done - i use my scarlet dragon for smaller productions but find i am using the epic D more than not


Glen Powell said:
Yes - and at the end of the month I launch a channel on two large American cable companies to just over 24 million homes. All content shot on Scarlet / Scarlet Dragons.
Click to expand...
 
Nick Morrison said:
Certainly true that over the long run you want to be hired (and compensated) for your talent, not your tools. Ends up being much more rewarding (and liberating) in the long run. Also much harder to to. Kudos to you for getting there Glen.

best
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Suresh Kara said:
Thats fucking impressive well done - i use my scarlet dragon for smaller productions but find i am using the epic D more than not
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Thanks to you both - it's been a long road, but making the switch and commitment to 4K and beyond early on has helped me get where I am. 8K is on the horizon so I can stay steps ahead of the competition...

Suresh Kara why are you using Epic D over Scarlet D? Is it frame rates or client perception of what's best?
 
Glen Powell said:
Thanks to you both - it's been a long road, but making the switch and commitment to 4K and beyond early on has helped me get where I am. 8K is on the horizon so I can stay steps ahead of the competition...

Suresh Kara why are you using Epic D over Scarlet D? Is it frame rates or client perception of what's best?
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yup off speed is key to the fashion films/stills i have been producing, the epics power comes in handy for sure. clients like vogue want the best and my company scarlet D is not right tool:(
 
i'm guessing this is a $10,000 upgrade from Epic Dragon and $20k upgrade from Scarlet Dragon. #4K4ALL
 
There's allot of posts to go through on this thread to get to very little concrete information.

First off I wanna start by saying you can buy a Scarlet-X used on this Forum for $3500. I've seen them from multiple sellers. 4K for All, already exists in the Red Market just not at the specs you want.

From what I can for-see this is just a simple Re-Vision for Scarlet just like Weapon is to Epic

Personally I could care less about the Raven and more about a price drop for Epic under $9K

What has held Scarlet back for all these years is the fact that they Sensor Crop and cripple the poor sensor.

If this is a 4K only camera I hope it has it's own S35 Sensor and not a cropped Dragon.

Chances are it'll shoot 5K at speed and do HiSpeed 4K and 6K stills w/Dragon Sensor
 
If it's indeed fixed mount and/or limited to 4k than it's a cheaper camera (not question).... Of course, we could be wrong about both of those, and Raven could end up being $17,500 and is essentially identical to 'Epic-D in a Weapon body' (with wifi and autoblackshade/olpf built-in)... Then everything drops a price tier... $14500 for Epic-D, $9500 for Scarlet-D, $7950 for Epic-X, and $4k for Scarlet-X... and then $4k for BT Epic-X and $2k for BT Scarlet-X next year. Every price category covered.

Ben Scott said:
I didn't make the money I should have with my Scarlet-MX. My FS7 paid for itself within 2 months. If I buy a Raven, it will be because there is the work and client base ready for it from day 1.
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Yeah, but is that because you were being hired for your kit (sony over red) or because the sony cost 1/2 as much? That's a weird position to be in, as it implies people were hiring you based on your kit... Did your rates change on the Sony? Would productions actually not use you, had you insisted RED? (I'm actually curious, as I own a Scarlet and the FS7 and FS5 are on my radar as potential purchases, but I don't really see how one camera system netted you more and/or higher-paying-gigs over the other... Maybe PM me.)
 
Mike P. said:
Yeah, but is that because you were being hired for your kit (sony over red) or because the sony cost 1/2 as much? That's a weird position to be in, as it implies people were hiring you based on your kit... Did your rates change on the Sony? Would the productions actually not used you, had you insisted RED? (I'm actually curious, as I own a Scarlet and the FS7 and FS5 are on my radar, but I don't really see how one camera system netted you more and/or higher-paying-gigs over the other... Maybe PM me.)

If it's indeed fixed mount and/or limited to 4k than it's a cheaper camera (not question).... Of course, we could be wrong about both of those, and Raven could end up being $17,500 and is essentially identical to 'Epic-D in a Weapon body' (with wifi and autoblackshade/olpf built-in)... Then everything drops a price tier... $14500 for Epic-D, $9500 for Scarlet-D, $7950 for Epic-X, and $4k for Scarlet-X... and then $4k for BT Epic-X and $2k for BT Scarlet-X next year. Every price category covered.
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Ben is also working in England where RED seems to have a different market presence, at least from what I understand.

I have a good friend in UK who's a production manager on docs (BBC, etc) and RED almost never comes up. It's mostly Sony/Canon.

So, that could also be a reason why it was easier for Ben to switch...
 
Mike P. said:
If it's indeed fixed mount and/or limited to 4k than it's a cheaper camera (not question).... Of course, we could be wrong about both of those, and Raven could end up being $17,500 and is essentially identical to 'Epic-D in a Weapon body' (with wifi and autoblackshade/olpf built-in)... Then everything drops a price tier... $14500 for Epic-D, $9500 for Scarlet-D, $7950 for Epic-X, and $4k for Scarlet-X... and then $4k for BT Epic-X and $2k for BT Scarlet-X next year. Every price category covered.



Yeah, but is that because you were being hired for your kit (sony over red) or because the sony cost 1/2 as much? That's a weird position to be in, as it implies people were hiring you based on your kit... Did your rates change on the Sony? Would productions actually not use you, had you insisted RED? (I'm actually curious, as I own a Scarlet and the FS7 and FS5 are on my radar as potential purchases, but I don't really see how one camera system netted you more and/or higher-paying-gigs over the other... Maybe PM me.)
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Basically in my world the people who could afford to hire the Scarlet could afford the Epic (and latterly the Dragon). There wasn't really a UK market for people wanting Scarlet. That's not to say I didn't do good work on it, including broadcast docs and the like...

The Scarlet-MX was (for me) in a market Limbo. Neither one thing not the other. There was suddenly zero money in music promos too which had previously been an earner for me. I was getting hired a fair bit but the camera would stay at home. Or I'd be asked to use a 6D instead of the Scarlet, and it was imperative that I didn't just throw it in for nothing and therefore make the market rate for Scarlet rental = £0 per day. As for the FS7, when it came out I charged a little bit less and got many many times more work. Almost a year later I now charge what I used to charge with the Scarlet but still get a hell of a lot more work.
 
Luke Neumann said:
I'm sure you had some idea on where you wanted to go with it though. If not, maybe you just started trying/pushing harder once you got it because there was now a fire underneath that wasn't there before.
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Sort of. Suffice to say it's been a learning process. Truth be told I screwed myself over a bit thinking 'if you buy it, they will come'' and probably spent a lot of money that would have served me a lot better once I had the clients I now have. But I can't find it in me to regret buying a Red as I learned so much about my job trying to do it justice.
 
Ben Scott said:
Sort of. Suffice to say it's been a learning process. Truth be told I screwed myself over a bit thinking 'if you buy it, they will come'' and probably spent a lot of money that would have served me a lot better once I had the clients I now have. But I can't find it in me to regret buying a Red as I learned so much about my job trying to do it justice.
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I agree. It can go so many different ways based on the type of person you are so there really is no one right answer.
 
Trevor Meier said:
Raven12 and Raven24... interesting. If that refers to frame rates, perhaps they are going after the SLR realm after all?
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RAVEN 24, RAVEN 12

lets analyze this. This means there are two versions of the Raven. The 24 and 12 have to have some significance. I'm guessing they are prices $24k for he higher model and $12 for the lower version. This makes sense because there are basically two versions of weapon 6k and 8k and then these two will round out the epic and scarlet paths for the new body style

WEAPON 8k
WEAPON 6k
RAVEN 24
RAVEN 12
 
Grant Smucker said:
RAVEN 24, RAVEN 12

lets analyze this. This means there are two versions of the Raven. The 24 and 12 have to have some significance. I'm guessing they are prices $24k for he higher model and $12 for the lower version. This makes sense because there are basically two versions of weapon 6k and 8k and then these two will round out the epic and scarlet paths for the new body style
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My guess is that the name correlates to a serial number or wifi id. With the comment "everything Is working" by Jarred i assume he is referring to the wifi capability or phone connectivity. I do not think they would name there camera based of the price. That seems silly.

But i am stoked to see what the raven is. I hope it does not bite the epic x owners to bad! A cheaper camera with dragon sensor and 4k 120fps will make me jealous and wish i had waited a year before buying my epic x haha. All in all love red cameras stoked to see whats next!
 
Mikael seemed to suggest on FB that those are just their prototype #'s.



Trevor Meier Raven12 and Raven24... frame rates or serial numbers?
Like · Reply · 2 hrs


Mikael Lubtchansky proto
Like · Reply · 2 hrs
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Grant Smucker said:
RAVEN 24, RAVEN 12

lets analyze this. This means there are two versions of the Raven. The 24 and 12 have to have some significance. I'm guessing they are prices $24k for he higher model and $12 for the lower version. This makes sense because there are basically two versions of weapon 6k and 8k and then these two will round out the epic and scarlet paths for the new body style

WEAPON 8k
WEAPON 6k
RAVEN 24
RAVEN 12
Click to expand...
 
Ben Scott said:
The leaps of logic/intuition based on very little info are hilarious.
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Haha it is a little ridiculous but you have to figure those numbers are there for some reason (even if it's just Mikael's lucky numbers)

plus Jarred is sneaky with these releases so you never know what hints he's trying to show
 
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