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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 :)

CNN online video of Red at NAB

Very nice. Ted always does a good job with these interviews.

I would caution against calling Scarlet a "cinema" camera, though. It's fixed lens makes it perfect for many things, but cinema is not really a natural fit, because you are going to have people tearing it apart to put frankenstein-style 35mm adapters on it, etc.

I was hoping Wolf was going to give one of his famous "Amazing, amazing" quotes about Red at the end of the segment!
 
It looks that Ted was a bit rushing and that he was more interested to talk with

the CNN journalist (hot) girl after the interview about a nighty blue sky, stars, RED moon, etc... :) .
 
Joseph Hutson said:
You never have been big on Scarlet since NAB have you?
Click to expand...

I hope I'm not seen as a basher of Scarlet. I'm big on it for some purposes, not so much for cinema. The sensor size and lens issues will be ideal for certain types of shooting, but just for me, I wouldn't be interested in using it for narrative features or shorts or whatever. Red One is much better suited.

I think of it in similar terms to still photography. Would I really want to shoot portrait stills for a magazine, for example, with a $300 point-and-snap digital cam with a small sensor and fixed f/2.8 lens? Naw, I would rather have a DSLR with a nice 50mm f/1.4. Different kinds of projects require different equipment, that's all.
 
Tom said:
I hope I'm not seen as a basher of Scarlet. I'm big on it for some purposes, not so much for cinema. The sensor size and lens issues will be ideal for certain types of shooting, but just for me, I wouldn't be interested in using it for narrative features or shorts or whatever. Red One is much better suited.

I think of it in similar terms to still photography. Would I really want to shoot portrait stills for a magazine, for example, with a $300 point-and-snap digital cam with a small sensor and fixed f/2.8 lens? Naw, I would rather have a DSLR with a nice 50mm f/1.4. Different kinds of projects require different equipment, that's all.
Click to expand...

Not all of us can afford a RED ONE. Plenty of movies have been shot on 16mm and 2/3" cameras, zoom lenses and all. Of course a feature can and will be shot with Scarlet. I plan to buy at least one and will shoot everything with it. And for LESS than 3 grand!!!! Come on, man. I can't understand why people, especially RED One owners are complaining about Scarlet. This camera is targeted at a different market, the wee ones who can't afford something bigger.
 
Tom said:
I hope I'm not seen as a basher of Scarlet. I'm big on it for some purposes, not so much for cinema. The sensor size and lens issues will be ideal for certain types of shooting, but just for me, I wouldn't be interested in using it for narrative features or shorts or whatever. Red One is much better suited.

I think of it in similar terms to still photography. Would I really want to shoot portrait stills for a magazine, for example, with a $300 point-and-snap digital cam with a small sensor and fixed f/2.8 lens? Naw, I would rather have a DSLR with a nice 50mm f/1.4. Different kinds of projects require different equipment, that's all.
Click to expand...

I would just like to know, out of polite curiosity, which "cinema" projects you have been involved with? I mean sure I can understand why steven spielberg would not choose scarlet, but i mean come on... I think you may be being a little grumpy.

The dvx100 was considered a good cinema camera... and you're telling me this one won't be?

how about an "Indie cinema camera" does that make you feel better?
 
Look, I can get a 12MP Kodak Easyshare point and click for $199, but would anyone suggest that I should use this for serious photography projects?? Am I an elitist if I choose a DSLR over a point and click?

I gave an example of why I would not shoot portraits for a magazine with a point and click camera. Same thing with cinema. I would rather use equipment that fits my ideas about photography for particular projects. It's just my own personal opinion and my own personal outlook on lenses and sensor size, etc. This stuff is subjective. One camera or lens or filter or whatever might be good for one person or particular project, not good for others.

Generally speaking, if you asked 1000 working directors and cinematographers whether they prefer a fixed lens or the ability to switch lenses, probably 90% of them would not vote for a fixed lens. That's why I say Scarlet is not ideal as a cinema camera. That's my own opinion. Maybe I'm wrong.
 
There's no question that the option to change lenses would give the Scarlet greater versatility. For certain kinds of feature films this restriction will not be an impediment to the camera's impact. In fact limitations are what define the look of any film and they are always a good thing provided the project is conceived so that the limitations and the subject serve one another. My favorite Jim Jarmusch film "Stranger Than Paradise" is an excellent example of a film whose triumph is in the manner in which it exploits galling limitations.

Scarlet's fixed lenses are a limitation but the freedom to shoot with free stock at a quality that is compatible to film is an extraordinary liberation. However, I speculate that had Jim Jarmusch had the this freedom he might never have conceived of "Stranger Than Paradise" and wouldn't that be pity.

However, Tom has valid point - fixed lenses is a restriction to Scarlet's potential. There is no reason not to point that out and it is in no way elitist.

Scarlet Special Edition with interchangeable lenses @ $ 5000 would be lovely piece of kit, unfortunately we will have to make do with Scarlet.

But as misfortune goes this is a misfortune I can happily live with. In fact it's a misfortune that only one year ago would have been, for me, an incredible dream.
 
I think what makes Tom's point valid is the advent of RED Ray. There was no real need for 4k before NAB, but now...?

edit: I wouldn't let the fact that I might be restricted for whatever reason to using a Scarlet stop me from making a movie with one. I think it could make a GREAT 2K movie shot at 3K. Just think that RED One is where you start if possible. Then Epic, after it proves itself.
 
I am certainly not saying that you can't make a great movie on Scarlet. One of my favorite films from last year was "Once," and it was shot on a crummy prosumer video camera. Anything is possible. It's just not "ideal" for most cinema projects to be working with a fixed lens.
 
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