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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 :)

addressing a non-issue: major features shot with 2/3 sensor

Finally,

Someone who is writing a post that makes sense

Most guys on this scarlet forum are writing up rediculus post as if Jim was Santa Claus and the Red team his elf's, asking for features they will never use.
 
bhtdmc said:
to everyone who complains about Scarlet, and insists that you can't tell a narrative story without 35mm DOF, here are some major movies shot with a 2/3 sensor:

ZODIAC
The Curious Case of Benjamin Button
Speed Racer
Star Wars Eps II, III
Miami Vice


keep it going......what else?
Click to expand...

This has to be the mother of all thread. :bleh: rofl. Good nite u guys, hopefully by late spring 2009 when the final Scarlet is going to be released, the specs will wildly changed, just like the Red One.

Have a good week ahead all.
 
and for people concerned that a 2/3" sensor impedes the ability to be "artistic" for lack of a better word... here's the trailer of my favorite film of recent... shot with an F900....

http://www.nbcfilm.com/trailers/Climates-trailer.mov

patara1.jpg

motor.jpg

baharsnow.jpg
 
Other films shot with 2/3 is Once upon a time in Mexico, Sin city, 21, Planet Terror.

So in total we got

Sin City I and II
21
Planet Terror
Once upon a time in Mexico
ZODIAC
The Curious Case of Benjamin Button
Speed Racer
Star Wars Eps II, III
Miami Vice

Add to the list.
 
Haha, cute thread.

Only problem is that some of the films you list DEFINITELY contained some shots at shallower depth of field than f2.8. Digiprimes are f1.5 / T1.6 for example.

I think though that if you made a list of:

- all 35mm films shot at f8-f5.6 split
- all 16mm films shot at f4-f2.8 split
- all 2/3" HD films shot at f2.8
- pretty much anything shot on a smaller camcorder

...you'd still have a darn impressive list?

Bruce Allen
www.boacinema.com
 
Bruce Allen said:
Only problem is that some of the films you list DEFINITELY contained some shots at shallower depth of field than f2.8. Digiprimes are f1.5 / T1.6 for example.

Bruce Allen
www.boacinema.com
Click to expand...


An absolutely valid point.

However: How much would one good Digiprime cost to rent for one week?

But yes, it is a valid point for some of those films.
 
Bhtdmc, I applaud you post, sorry I didn't make that clear BTW.

bhtdmc said:
An absolutely valid point.
However: How much would one good Digiprime cost to rent for one week?
Click to expand...

Agreed, I'm on your side ;) Scarlet looks great and I'm very excited about it too!

One remaining question is ASA rating. How will Scarlet do sensitivity-wise relative to the other cameras with 3x the surface area (3CCD 2/3" chips)?
Looking forward to hearing more about Mysterium X. Also, latitude?

On the other hand, you'll have a heck of a lighting budget if your camera only costs $3K. Similarly, lightweight camera = cheaper tripod, less baggage, etc, etc. Suddenly you are saving a ton. More money for sound, etc - everything gets a lot better.

Lets hope for a 21st Century New Wave...

Nice thing is that Scarlet is a great camera for filmmakers to prove themselves with. Anyone with talent and decency can make something good on a Scarlet, combine that with a good script, paying dues and a little luck and salesmanship then they'll hopefully be renting / borrowing a Red for cheap (and convince a good focus puller of their talent) if they have a project that REALLY NEEDS / "DESERVES" that Shallow DOF Sugar. I don't think pretentious shallow-depth-of-field shots really belong in someone's first few films myself...

Sorry, back on topic, wow, so many great films 2/3rd-or-less digital films to choose from: Dancer in the Dark, The Celebration... uh... Borat... uh the Hannah Montana concert film (I'm biased for the last two 'cause I did titles for them ;)...

As for deep-focus 35mm films: oh boy, where do we even begin? So many great-looking films... most of the iconic cinematic images stuck in my head... all deep focus.

For every amazing shot that someone can point to with sweet anamorphic bokeh, I'll bet there are two or three just as amazing shots that are totally in focus and shot at T5.6+.

Just off the top of my head, I'm thinking the vacuum-crisp imagery from 2001, the amazing tracking shots from The Cook The Thief, His Wife and Her Lover, the crisp desert of Lawrence of Arabia, The Night of The Hunter... aaaaargh! Too much!

The original poster's point is you can make all of those iconic images with a Scarlet...

Only problem is, they all had great production design. And location scouts. And costumes (Greenaway had Gaultier, didn't he?)...

Better make friends with production designers (and matte painters ;)

And come up with a great idea. Because in 2009 you're going to have no excuse as to why you can't shoot it.

As for me I have even run out of excuses now - a few kind friends are prodding me to shoot a short now on a Red One. So what am I doing here on reduser? I should be writing scripts. I am sorry. I won't let you guys down.

Bruce Allen
www.boacinema.com
 
manymoosh said:
Other films shot with 2/3 is Once upon a time in Mexico, Sin city, 21, Planet Terror.

So in total we got

Sin City I and II
21
Planet Terror
Once upon a time in Mexico
ZODIAC
The Curious Case of Benjamin Button
Speed Racer
Star Wars Eps II, III
Miami Vice

Add to the list.
Click to expand...

Actually Planet Terror and 21 are shot on genesis which is 35mm
 
Uh, that was a long post. Sorry. I humbly submit (in addition to the above list):

shot entirely on 2/3rd cameras:
- Sky Captain (#1 box office - F900)
- Crank (F950)

shot on combo of 2/3rd & smaller cameras:
- Cloverfield (#1 box office - F23 for effects shots & some outdoors stuff, HVX200 a lot of other shots...)
- Borat (#1 box office - multiple formats incl Varicam)
- Hannah Montana 3D (#1 box office - Pace rigs, incl F9?? - either 900 or 950, can't remember - and F23)
- Blair Witch (#1 box office? - Super16 & Hi8?)

shot entirely on smaller than 2/3rd:
- Dancer in the Dark (Palme D'Or - multiple DV & DVCAM cameras)
- The Celebration (1-CCD Sony PC3e)
- 28 Days Later (XL1)

Okay, a lot of those had great marketing campaigns. Oh, and story / character too...

Sure there are a ton more. Spy Kids, etc.

Personally I kinda prefer the look of Zak's selection, Climates, though.

Bruce Allen
www.boacinema.com
 
Sony_CineAlta_Lucas.jpg


Let's keep in mind that Lucas shot on $100,000 lenses with a multi-million-dollar 4:4:4 data workflow.

Trying to say say cinema people "don't need" interchangeable lenses is like saying that professional still photographers should just shoot on point-and-click digi cameras. No one in their right mind would argue that.

With its fixed lens, scarlet might be many things, but its not really ideal for cinema shooting. Maybe sports, landscapes, nature shooting, ENG, etc, but not cinema, per se. Yes, if you absolutely had to, you could work with a fixed, slow lens and smaller chip, but its far from ideal.
 
Tom said:
With its fixed lens, scarlet might be many things, but its not really ideal for cinema shooting.
Click to expand...

Agreed.

But for under $3000 it puts a VERY powerful tool in, well, EVERYBODY'S reach.

And if you REALLY need to step up there's Red.

I'm excited for what Scarlet is going to put in my hands.

sincerely,


MT
 
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