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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 :)

Dec. 3rd responses here...

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I was satisfied with the initial announcement of 3K for $3K. Now with the additional aspect ratios, ramping and 1080P aquisition I can'tget my money saved up fast enough. I will definately get the fixed lens kit as soon as it is available.

In one of the initial interviews Ted did on the announcement of Scarlet and Epic he said that there would definately be a feature shot with the Scarlet. Yep!!! :D :D :D My very first feature film is in the final stages of preproduction and Scarlet will be the camera that will be used. I am still trying to raise money for the S35 Scarlet. If that does not happen I will still have the money for the fixed lens or the C-mount version.

Thank you RED, Red One owners, and that Soccer mom market. :)
 
acoelho1 said:
If you cant afford 3.7k then you couldn't afford 3k either.
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That's kinda what I'm thinking... Not that I really want to pick on the guy or argue over it. But when $3K is acceptable and $3,750 suddenly makes it out of reach for another couple years, that statement in itself is truly an enigma.

If $3.7K breaks the bank, then $3K would as well. We still don't know what we actually get with the $3.7K kit. But this is only portion of what is needed in terms of a capable editing system and software. Not to mention other support equipment that is obviously not included in the kit, but would be essential for a truly usable camera kit -- basic filter package. Some form of tripod or support, bags/cases for transporting gear, means to backup and archive what you shoot, edit and create... The list just goes on.

Anyway, done with that line of discussion. I can't pretend to understand other peoples' budgets or thoughts on how to manage their own finances.
 
750 bucks more, or less, it is not important. I just don't understand why not a 35 mm sensor. Red has the technology. Canon has a new 35 mm camera right out the door.
 
Must be fun to be you, Jim.. I admit I'm a bit jealous of the job you have!
 
Simon Smith said:
750 bucks more, or less, it is not important. I just don't understand why not a 35 mm sensor. Red has the technology. Canon has a new 35 mm camera right out the door.
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Yes but it's not the same sensor at all. This has been over a number of times. The canon sensor pipeline takes a number of shortcuts that Red are not prepaired to take. To make a Red-quality sensor and processing unit apparently costs a lot more.
 
Simon Smith said:
750 bucks more, or less, it is not important. I just don't understand why not a 35 mm sensor. Red has the technology. Canon has a new 35 mm camera right out the door.
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:waaa: That is what the FF35 is for. I am so confused everyone wants the whole house for nothing. Come on guys. These complaints don't make much sense. $750 more is not impossible to overcome. It is a fair price for the frame rates, the image size, ramping abilities and the aspect ratios. You can't find many other cameras with similar specs for close to the same amount of money.
 
Simon Smith said:
750 bucks more, or less, it is not important. I just don't understand why not a 35 mm sensor. Red has the technology. Canon has a new 35 mm camera right out the door.
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many people have said it before, but i'll say it again: REDCODE!!!! that is the fundamental ass-kicking difference that ALL red products have over everything else. if you want crushed line skipped h.264 files, knock yourself out.

RED is way beyond that. 7K is almost stealing it from them.
 
Well, Canon costs under $3000. Is Redcode worth of three times the price? For 7K you buy Red S35 not full frame.
 
Simon Smith said:
Well, Canon costs under $3000. Is Redcode worth of three times the price? For 7K you buy Red S35 not full frame.
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Yes it is worth 3x the price but it doesn't cost 3 times more. A faster resetting cmos chip so that the image doesn't jiggle is what costs 3x more.

H264 and jp2k are comparable on the grand system requirtements spectrum.
 
Redcode would be worth four times the price.

The second you try to color-correct something, you will notice the difference.
 
Simon Smith said:
Well, Canon costs under $3000. Is Redcode worth of three times the price? For 7K you buy Red S35 not full frame.
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Simon, Simon, Simon... you pay for frame rates (as I have clearly said on my Recon post). The Canon (and Nikon and Sony) are slow clock speed sensors which are MUCH cheaper to make. Canon gets 30fps by skipping rows during the readout. If you are good with that, it is a cheap camera. If you want real 24fp, 30fps or 100fps, you have to pay for it.

The two systems are not in any way similar except that they have a sensor and accept lenses.

Jim
 
mini-primes

mini-primes

Is there a target time on the arrival of the Mini-Red primes? Will they at all coincide with the interchangeable Scarlet?
 
Jannard said:
Simon, Simon, Simon... you pay for frame rates (as I have clearly said on my Recon post). The Canon (and Nikon and Sony) are slow clock speed sensors which are MUCH cheaper to make. Canon gets 30fps by skipping rows during the readout. If you are good with that, it is a cheap camera. If you want real 24fp, 30fps or 100fps, you have to pay for it.

The two systems are not in any way similar except that they have a sensor and accept lenses.

Jim
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Ok. Why not a competitor for the new Canon with a competitive price? 10000 is not competitive. Frame rates locked to 30fps. Full frame 30 mm sensor though.
 
Simon Smith said:
Ok. Why not a competitor for the new Canon with a competitive price? 10000 is not competitive. Frame rates locked to 30fps. Full frame 30 mm sensor though.
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Maybe because the chips on the S35 and FF 35 cost more than the entire canon camera? Just a guess.
 
Simon Smith said:
Ok. Why not a competitor for the new Canon with a competitive price? 10000 is not competitive. Frame rates locked to 30fps. Full frame 30 mm sensor though.
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Competitive? I think you meant "crippled". The only thing the 5D2 has going for it's video mode is great DOF and low light performance. But, in the end, the video still looks like ass at 30fps and highly compressed. You guys have to get it out of your head that sensor size is everything. It's not. The end result is what matters.
 
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