Documentary filmmaking

[enrico parenti]

I am very excited for the release of scarlet s35 as I have been able of trying out last month a red one and the quality it´s superb.

I am a documentarist and usually we work in crew of 4 persons maximum (Director, producer, cameraman, soundman) this because usually there is not a huge amount of money and because we travel in alot of dodgy places.

What I would like to understand is if a red camera will ever be as fast and practical as an ENG camera, they say it´s a DSMC and there is a 1,048,576 possibilities. In documentary filmmaking the most important things are a motorized zoom, fast ND filters and maybe an optical stabilizer but it´s seems there is no information on these items...

It would be a shame if a great camera like red scarlet will be confined to only very big production companies that can afford the time, the money and the people to handle big matte box, big cases for the lenses and in many cases tear away the ability to steal some real life action.

Thanks

Enrico

 

[Mohammed El Sharqawy]

I think you should look at the 2/3" scarlet... i think it is meant for that kind of production... don't know if there is motorized zoom or NDs,, but, the concept itself is there...

EDIT: I mean the fixed lens one..

 

[Peter Majtan]

I am a NatGeo member and we are going to shoot next year a 5-episode series all around Latino America. Since we are producing the project out of our pocket - I have no real deadlines - and as such I will wait for the first Scarlet to come out - which ever one it is. I would love to have the 2/3" fixed one, as in my opinion it is the best one for this line of work. Add the RED wide & tele adapters and You are set. I can't wait to go out there and shoot with it...

Peter

 

[Martin Weiss]

It is slightly different working with a "digital cinema" camera as to compared to an ENG one. But with a bit of practice you'll be almost as quick - and sometimes actually quicker. And did I mention you get 2k, 3k, and more?

If the producer or director are a bit practical, they can help you with offloading footage.

 

[Liam Hall]

I would love to have the 2/3" fixed one, as in my opinion it is the best one for this line of work. Add the RED wide & tele adapters and You are set. I can't wait to go out there and shoot with it...

Peter

How is the fixed lens option going to be the best for HD broadcast, particularly when you fit a wide-angle adapter on the front of its 'cheap' fixed lens??? Seems to me that option is designed for the student or wedding videographer and not the serious documentary film-maker.

 

[David Swan]

I doubt Red will release anything that's not up to their standard. They do have a rep to maintain you know!

 

[Jerrod Cordell]

How is the fixed lens option going to be the best for HD broadcast, particularly when you fit a wide-angle adapter on the front of its 'cheap' fixed lens??? Seems to me that option is designed for the student or wedding videographer and not the serious documentary film-maker.

Well, looking at Scarlet 1.0, they did say that it would have "bad ass glass." Not to mention they were saying it would completely destroy the F23. So I don't think it will simply be used for just things that people use GL2s for.

 

[Hans von Sonntag]

I guess that even with the upcoming Red cameras a F900R will be more suitable for quick documentary work. The ENG design of this camera makes it favourable for such work. Nevertheless, I stopped working with the F900R in such applications and sacrified convenience, light sensitivity and weight for the better picture the RedOne delivers.

However there are situations where doing so would jeopardise a shoot.

Even though the new Red models are supposed to be lighter and more ergomical they won't be ENG designs. Red does not render all cameras obsolete.

Hans

 

[Liam Hall]

Good points Hans, I agree completely. I'm also looking forward to a RED that is lighter and faster.

I doubt Red will release anything that's not up to their standard. They do have a rep to maintain you know!

My point is simple. How is the fixed lens option a 'better' one for doco work than those with interchangeable lenses and higher resolution? The fixed lens option is only a cheaper option, not a better one.

 

[Craig Schober]

How is the fixed lens option a 'better' one for doco work than those with interchangeable lenses and higher resolution? The fixed lens option is only a cheaper option, not a better one.

depends on how you define better? i wouldn't want to miss the shot on a doc because i was busy switching out lenses. that can't happen with a fixed lens and i'm sure the fixed lens will also incorporate some auto features too making it ideal for doc work.

now is it better as in pristine prime optics at 5k? i don't know that too many documentarians care so much for the ultimate quality if it begins to compromise versatility, usability and affordability.

 

[Liam Hall]

depends on how you define better? i wouldn't want to miss the shot on a doc because i was busy switching out lenses. that can't happen with a fixed lens and i'm sure the fixed lens will also incorporate some auto features too making it ideal for doc work.

now is it better as in pristine prime optics at 5k? i don't know that too many documentarians care so much for the ultimate quality if it begins to compromise versatility, usability and affordability.

Who mentioned primes? Zooms are interchangeable too!

 

[Jeremy Wiles]

Who mentioned primes? Zooms are interchangeable too!

Exactly. I've been shooting a documentary for the past 4 years and we have used a combination of prime and zoom lenses. I also shoot in primarily "dodgy places" as well. I wouldn't change the advantage of getting great depth of field over being able to hit the zoom button on the camera. With just a few zoom lenses you can cover a great range.

 

[Moir]

We won't know how good the fixed x8 zoom lens will be until it's produced, but I can easily see this being the most useful camera for many doco shooters who need rapid set-up and light weight, and don't need really wide or long focal lengths.

This lens will be produced in large volumes, which allows more bang for the buck, will be optimised for the camera, and won't suffer from dust on the sensor.

Horses for courses...

 

[David Swan]

As Moir says, the lens can and will be optimised to the sensor. Besides which I can see this being made and sold in large (Reletivly) numbers. So, do you really think Red will put their name to anything sub-standard, with a lot of people saying "Don't by this, the lens is nobut a bottle-bottom"? I think not.

 

[Liam Hall]

As Moir says, the lens can and will be optimized to the sensor. Besides which I can see this being made and sold in large (Reletivly) numbers. So, do you really think Red will put their name to anything sub-standard, with a lot of people saying "Don't by this, the lens is nobut a bottle-bottom"? I think not.

Moir is right that we wont know how good the 8x will be until it's produced and there are some very good fixed lenses out on the market already, my point is any fixed lens is a compromise. It will be too too short for some and not long enough for others.

The benefit of the fixed lens option is that it is cheaper than the other 'brains' and looks like it will be a very good entry level camera into digital cinema and UHD. That's all it is. A good deal, a fabulous deal. But it's not in any way shape or form going to be a better option for any kind of work over its more expensive stable mates - apart from maybe as a 'stunt camera'.

If folks want a lightweight Scarlet, then configure it that way - that's kind of the point.

For the record, I've never said don't buy this version, I've never said the 8x lens will be rubbish, just that it will be 'cheap' (I have stills lenses that cost twice as much as the whole camera) and not as good as the interchangeable options - it's a no brainer to me...

 

[Jim Klatt]

. But it's not in any way shape or form going to be a better option for any kind of work over its more expensive stable mates - apart from maybe as a 'stunt camera'..

You should concentrate on speaking for yourself and your work and not for others and theirs.

 

[Craig Schober]

Who mentioned primes? Zooms are interchangeable too!

i mentioned primes...as an example of the best quality...the quality you keep asking about. of course zooms are interchangeable too but that's the point, you still have to interchange them if you want a different range. fixed is fixed and as a result easier to work alone or with a crew. sometimes less options make the workflow that much better.

 

[Liam Hall]

You should concentrate on speaking for yourself and your work and not for others and theirs.

I was speaking for myself and I do concentrate on my work. Perhaps, you should heed your own advice...

 

[Liam Hall]

i mentioned primes...as an example of the best quality...the quality you keep asking about. of course zooms are interchangeable too but that's the point, you still have to interchange them if you want a different range. fixed is fixed and as a result easier to work alone or with a crew. sometimes less options make the workflow that much better.

Fixed is fixed and therein lies the problem. I wouldn't want to miss the shot because I couldn't zoom-out far enough...

Anyhow, I understand your POV and you're right that sometimes less options is a good thing. I like versatility, which is another good thing about RED

 

[Jim Klatt]

How is the fixed lens option going to be the best for HD broadcast, particularly when you fit a wide-angle adapter on the front of its 'cheap' fixed lens??? Seems to me that option is designed for the student or wedding videographer and not the serious documentary film-maker.

So you cannot make a serious documentary with the fixed lense?

Spare me.