Dsmc..

[Brad Olsen]

I don't think that's Scarlet. If my memory serves, Scarlet was long and narrow like a video camera, and this is short and wide like a DSLR.

Big Jon is right y'all! That is a render of the Scarlet with the smart handle attached. I recommend listening to the red centre podcast from the folks at fxguide.com It's a great podcast where they discuss all things RED. I didn't see the "Smart Handle" in the forums first, they talked about what it was in their podcast and then I found the image. For me there was no confusion as to why a Scarlet render looked so much like a DSLR.

 

[David Rasberry]

The picture is Scarlet with the optional smart handle attachment.

See http://www.scarletuser.com/showthread.php?t=5

 

[BobSimon]

The design of the body is proprietary. No two cameras have same body. The most comfortable bodies belong to Nikon and Canon. I cannot imagine anybody making a more ergonomic camera body. The camera in the photo look cumbersome. I will not buy such a bulky camera.

 

[Jason Sinclair]

The DSMC will be aimed at stills... You take video and pick your stills. I can tell you the pro photo market will go ape over it. I have already picked some of the best stills ever shot in my life from red frame grabs. That 1/24th of a second moment of perfection, the glint in the eyes, the change of emotion. I tell you Jim is spot on.... This is the market and the future. So workflow... Take footage into redcine , find your 4k + still and output to... redraw adobe in photoshop and do your post.
Scarlet is a video camera.... They are two different beasts. But of course the complimentary factors are enormous...

 

[Justin A. Lincoln]

The DSMC will be aimed at stills... You take video and pick your stills. I can tell you the pro photo market will go ape over it. I have already picked some of the best stills ever shot in my life from red frame grabs. That 1/24th of a second moment of perfection, the glint in the eyes, the change of emotion. I tell you Jim is spot on.... This is the market and the future. So workflow... Take footage into redcine , find your 4k + still and output to... redraw adobe in photoshop and do your post.
Scarlet is a video camera.... They are two different beasts. But of course the complimentary factors are enormous...

This strikes me as a "photography by luck" way of shooting, to a fair degree. i really think there's something to be said for having the patience and skill to know just when the fraction of a second is right, when light and composition have come together, to take that picture. Capture x number minutes worth of continuous footage at x frame rate and your bound to pull at least one artistic frame out of it.

 

[Tom Lowe]

May the Force be With You, Jim!

 

[Jannard]

The design of the body is proprietary. No two cameras have same body. The most comfortable bodies belong to Nikon and Canon. I cannot imagine anybody making a more ergonomic camera body. The camera in the photo look cumbersome. I will not buy such a bulky camera.

hehe... Bob. You are too funny. You are comparing Scarlet (a motion camera that shoots 3K) to a DSLR that shoots stills. Two different animals. Why not compare Scarlet to a Varicam or HDCAM and the Canon to the Nikon or Sony? BTW, have you actually held a Scarlet?

No one has seen our DSMC. When we post it, you can compare it to whatever you want... even though nothing will compare in performance.

After reading all your posts I get that you don't like RED very much. That's OK. Why exactly are you here?

Jim

 

[Jason Ing]

This strikes me as a "photography by luck" way of shooting, to a fair degree. i really think there's something to be said for having the patience and skill to know just when the fraction of a second is right, when light and composition have come together, to take that picture. Capture x number minutes worth of continuous footage at x frame rate and your bound to pull at least one artistic frame out of it.

That somehow makes it more legitimate or more artistic?

I'm sure that "action/sports" photographers know exactly when to push the button when the athlete/vehicle/event is perfect. In fact, they all use 8x10 cameras and wait patiently, "Ansel Adams" style for that perfect moment and snap the picture.

This also includes capturing dynamic, dramatic human emotion that's as quick as a sport but more elusive and fleeting.

I shoot with a Canon 40D and hope its 6.5 frames per second at RAW will capture what I need. And I do wait for the great moment.

Ansel Adams was a world class photographer and undeniably one of the greats. But there are other legitimate styles of shooting and capturing moments and creating great "art".

 

[Jason Sinclair]

This strikes me as a "photography by luck" way of shooting, to a fair degree. i really think there's something to be said for having the patience and skill to know just when the fraction of a second is right, when light and composition have come together, to take that picture. Capture x number minutes worth of continuous footage at x frame rate and your bound to pull at least one artistic frame out of it.

Luck is the old way. There's no luck in this method because you have the right tool.

Think of it like this. Digital fluid photography. The photographer just follows their instincts (hopefully they have already ascertained a certain amount of composition and lighting etc..) and flows with the shot. With trigger release there is no one in the world that can capture 1/24th of a second at a moment they realize they need to capture. It is impossible. Lots of great sporting shots have been got with motor drives and some of those photos are the best in sporting history, many flukes no doubt.

Sorry for you people that have a hard time adjusting to change but this is the future, specifically in sporting and events and anything involving people or nature.

 

[Jannard]

I have to agree with Jason here...

OK. There is a sequence of events that is incredible and will never happen again. I can pull the trigger once (one frame) and, if I am really good... get the exact moment of history. Or... I can put my camera on full motor, be more certain of getting the "moment in history", plus, maybe a few more moments that will never happen again. History is usually not just one instant, but many leading up to and after "that" moment. I shot cameras for many years that did not have motors. I don't feel any less of a photographer because I use one now. It is not to say that some shots need to be set up carefully. A motor is not a substitute for talent.

One step further. Now if I could shoot that same sequence of events in full motion, knowing that any one of the frames could stand on its own with no quality loss compared to a still camera... now THAT would be something. Hence the DSMC.

Jim

 

[Jason Sinclair]

EXAMPLE: Three kids all moving around.

Shot on red one. Either frame on both sides unusable.

result: Happy mums

 

[Luis Caffesse]

A motor is not a substitute for talent.

Absolutely.
Same could be said of the camera itself.

One step further. Now if I could shoot that same sequence of events in full motion, knowing that any one of the frames could stand on its own with no quality loss compared to a still camera... now THAT would be something. Hence the DSMC.

You definitely know how to push the right buttons, Jim.
One day I feel like I can't wait for the release of Scarlet - the next I'm anticipating the announcement of the next camera.

This is a hell of a build up - and I have no doubt RED will pay it off well.

 

[Evin Grant]

A motor is not a substitute for talent.

I agree, and I think the concept of a single handheld professional imaging device is inevitable, but I worry about the implications for the photographer/artist. But there is no doubt in my mind that even more of the creativity of the artist will shift from the camera to the computer. And sometimes to the editor/art director. We will be required to spend vastly greater amount of time just finding these moments (I'm already doing it with the 9fps of the D3). This is neither good nor bad but does add complexity to the job, possibly at the cost of creative control. It will require those of us who have to use the tools to learn when the DSMC should be used in single shot or SAW mode.

The SAW (Squad Automatic Weapon, M249 Light Machine Gun)

Of course the SAW only shoots 12FPS (Fatalities pre second)

 

[Brad Olsen]

After reading all your posts I get that you don't like RED very much. That's OK. Why exactly are you here?

Jim

I love RED, always and forever. Two goals I have for my production company in the next year or so, all Macs with Final Cut Pro and all RED Cameras. Thanks to the pricing of the Scarlet I know I can do it. Without Scarlet I would have had to settle for EX1s. But I feel so spoiled. I still remember my love affair with the DVX (you don't want to know the details so don't ask :tongue: ), and now a camera that shoots 1-60fps on 3 1/2" CMOS sensors with 1080p res and records to the XDCAM format isn't good enough? Jim, you're spoiling us!

Can't wait to see what this DSMC will look like!

 

[Sarah C.]

Last time I tried letting the camera rapid fire during the approximate time of the shot I actually missed the best moment. I've been far more accurate to just wait... wait... for the shot. I also shoot 100% manual... Doesn't matter how good the camera is.. it still may not be looking at the exact plane of focus or object for exposure. If that makes me an elitist, purest, old fashioned and a markswoman, well then hot dog!

What tweaks my melon is when there is a delay from the moment I shoot to the moment of capture.

~Sarah

 

[Fran Kuhn]

Wouldn't a single camera used for stills and video really have a limited practical use? I mean, how would you produce useable images that work in both worlds when you have to choose an exposure duration that can only work for one or the other? Shoot RC on a Suzuki RM-Z450 at 1/48th and it will be too blurred to use as a still for advertising. Shoot a kid's birthday party at 1/500th and it will look like "Saving Private Ryan."

Just wondering.

Thanks,

-Fran

 

[Jason Ing]

EXAMPLE: Three kids all moving around.Shot on red one. Either frame on both sides unusable.

result: Happy mums

You mean this isn't the fourth take by professional actors and she didn't cutely hold her tongue like that for you to capture it just right?

 

[Evin Grant]

IMHO there should be four modes:
Still-Single Shot (One press one frame)
Still-Continuous (1-30FPS?) Whatever shutter works for you
Motion- 24-48fps 1/48(varibable) shutter.
Hybrid- 24fps 1/48th motion with the option of shooting a frame at the exact moment of the shutter button is pressed at a preset or auto set shutter speed.

I guess this would mean there would be two release buttons , a still and a motion, so that you could record either at a moment s notice.

 

[Sanook]

Is the sensor really the same 2/3" sensor from the Scarlet? Or (hopefully) it is at least APS-C sized...FF better still.

 

[Justin A. Lincoln]

I should not have used the the word "luck" in my original post. So, to a degree, I kinda agree with what supernovafilms typed and see where you're coming form. In fact, luck is actually the wrong word entirely. I should've used a new phrase, ready...photography by omni-inclusion. However, I hardly think luck was the old way. Though luck has a hand in everything, if you're a photographer relying on luck, you're not a photographer. Though there have been legit and compelling arguments for shooting "video" to get your stills, I'll argue that the soul of non-staged (event, sports) photography is the ability to be one with situation, and I believe, not to have to rely on grabbing a frame from a stream of photographs. I'm not suggesting that you take one picture and go home.

Here's my point...while the omni-inclusion approach has it's role, if you are relying on your stream of stills to capture your best photograph, then yes, I think there something less "legitimate" about the still, or maybe, it's just less romantic. To be more precise...of course you're going to capture that most excellent still when you're capturing everything.