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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 :)

5D2 vs. Scarlet...Size Wise

So which scarlet is that? S35? I imagine the 2/3 will be much smaller?

I hope Red gets these babies onto the market soon. I am in desparate need of a dsmc.
 
Really, guys, if you're using it for stills use primarily then you won't be using these big cine primes. You'd be using Nikon or Canon or other stills glass, or the RED Electronic lenses (which are more in line with the sizes you'd expect).
 
Tom said:
So which scarlet is that? S35? I imagine the 2/3 will be much smaller?
Click to expand...

Remember that the size of each Scarlet brain is all the same (to allow for compatibility with the add-on modules). The only excpetion to this might be the fixed lens "fly-by-wire" 2/3" version which will have a slightly different design as certain module functionality will be already integrated.
 
Well I am definitely interested in knowing the size and form factor of the 2/3 fixed. That camera might be ideal for low-key, portable 1080p-finish shooting.
 
Apple vs Oranges

Apple vs Oranges

One point to mention here is that a scarlet would technically provide MUCH more than the Canon.

- RAW at RC100 vs H264
- Vast fps rates vs 30fps only
- Professional sound vs Mono audio
- 3k/4K vs 1080P

These are not minor points. IF the canon was a 120 fps 4K RAW files with multiple audio channels etc... it might be a bit bigger :-)

Nice to see the side by side - but they are not the same camera.

Mike
 
Tom said:
Well I am definitely interested in knowing the size and form factor of the 2/3 fixed. That camera might be ideal for low-key, portable 1080p-finish shooting.
Click to expand...

Come on Tom, you know its all going to be about the 6K FF35...why are you talking about the 2/3 fixed Scarlet? I don't think the size is going to be that much different.
 
Mike Seymour said:
One point to mention here is that a scarlet would technically provide MUCH more than the Canon.

- RAW at RC100 vs H264
- Vast fps rates vs 30fps only
- Professional sound vs Mono audio
- 3k/4K vs 1080P

These are not minor points. IF the canon was a 120 fps 4K RAW files with multiple audio channels etc... it might be a bit bigger :-)

Nice to see the side by side - but they are not the same camera.

Mike
Click to expand...

Oh believe me Mike, I know they aren't the same cameras. I just wanted to do a side by side to show the people that are all jumping onto the 5D2 bandwagon thinking its going to out do Scarlet. Size was something brought up and I just wanted to give something people could gage the size of the Scarlet with.
 
There is a reason why all the still camera manufacturers are hiding the plugs behind a rubber lid or other kind of shield. The Scarlet look extremely fragile in that regard...
 
Personally I dont know why they want to make it look like another VDSLR. Add the modules and that look is lost somewhat bit still.
 
Noel Evans said:
Personally I dont know why they want to make it look like another VDSLR. Add the modules and that look is lost somewhat bit still.
Click to expand...

That's just because it's got the (optional) handle on it in this photo - it would be hard to shoot stills without it, but you can rip it off when you have your camera set up for video.
 
In another thread Jim mentioned a couple of months until we get ... a schedule update. So, read that as you will. Personally, that has reset my expectations.
 
Andrew Walker said:
Come on Tom, you know its all going to be about the 6K FF35...why are you talking about the 2/3 fixed Scarlet? I don't think the size is going to be that much different.
Click to expand...

I am in desperate need of a highspeed movie camera that can do at least 1080p. If it was extremely portable and inconspicuous, that's another bonus. I'm sure you will notice how easy it is to shoot on the 5D2 in public places vs trying to shoot them with Red or a larger cinema camera.

But yeah, I agree -- FF35 Epic is where it's at!!! I'll just need to part with one of my kidneys to afford a full FF35 Epic setup and commensurate editing and storage capacity.

I was up late last night shooting, and I was giving some more thought to finishing my film, "These Short Days," at 4K. If I did that, the regular cinema shots would have to be done with FF35 Epic Monstro, to match the stunning timelapse shots I'm racking up now on the 5D2 at 5.6K RAW. I think that's a killer combo: 5D2 Timelapse + Epic FF35. Can you imagine the QUALITY of the moving images on a bigscreen in 4K? Holy smokes. :cheers2:
 
Any one know if the Scarlet and Epic base plate to lens centre is the same as Red One ?
 
Tom said:
I am in desperate need of a highspeed movie camera that can do at least 1080p. If it was extremely portable and inconspicuous, that's another bonus. I'm sure you will notice how easy it is to shoot on the 5D2 in public places vs trying to shoot them with Red or a larger cinema camera.

But yeah, I agree -- FF35 Epic is where it's at!!! I'll just need to part with one of my kidneys to afford a full FF35 Epic setup and commensurate editing and storage capacity.

I was up late last night shooting, and I was giving some more thought to finishing my film, "These Short Days," at 4K. If I did that, the regular cinema shots would have to be done with FF35 Epic Monstro, to match the stunning timelapse shots I'm racking up now on the 5D2 at 5.6K RAW. I think that's a killer combo: 5D2 Timelapse + Epic FF35. Can you imagine the QUALITY of the moving images on a bigscreen in 4K? Holy smokes. :cheers2:
Click to expand...

Believe me I know the 5D2 and the Epic FF35 are going to be the best combo...at least for the type of shooting we're doing along with many other types of projects. That's why now I'm not to concerned about Epic being able to leave its shutter open like on the 5D2. Its just going to be the same setup for me as it was before. I was using the 40D with the Red One for all my stock footage. Now its the 5D2 and the Red One, which is a great combo still. But to have the Epic FF35 and the 5D2 it will be everything that I need.

Now all I need to do is to figure out how to bring 4x3 back. I only say that because all the timelapse frames that I get on my 5D2 I have to crop to 16x9 and it kind of sucks. Oh well, guess I'll just have to shoot wider or get back further. There's just something lost when you crop a FF35 image down to 16x9. Doesn't the Epic FF35 sensor measure out to a 4x3 image? 4x3 is a 1.33 aspect ratio and the Epic FF35 is a 1.50 aspect ratio. So if Red lets you use the majority of the sensor minus the look around then we could be looking at a new shooting aspect ratio of 1.50 with the FF35 Epic.
 
1.5 aspect ratio is the standard full frame still 35mm aspect ratio. 4x3 is Academy 35mm ratio I believe? Epic is standard FF ratio.
 
David Rasberry said:
1.5 aspect ratio is the standard full frame still 35mm aspect ratio. 4x3 is Academy 35mm ratio I believe? Epic is standard FF ratio.
Click to expand...

Yeah your right. Still it would be nice to have a format where you wouldn't have to throw away the top, bottom or top and bottom of the picture. I guess we'll just have to see what happens with FF35 cinema. Of course on the web you can have almost any format you want. Exhibition would be a little tricky in theaters but I guess it would really only be tricky in a film environment. If it was digital projection not so much. I only say this because if you look at the films that were released in 1.66 like "The Shinning", they just get played in 1.85 cutting off the top and bottom of the picture because most film theaters can only play either 1.85 or 2.35.
 
Sometimes it's very tough cutting my 5D2 images to 16x9. If i had to crop to 2.40, it would be very painful, especially for shots with a lot of sky.
 
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