Welcome to our community

Be a part of something great, join today!

Log in
  • 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 :)

Fixed or not

As far as DOF goes, you could also probably use something like the Letus extreme on the fixed Scarlet to achieve some nice narrow DOF. Could be overkill, but it could also be a good way to slowly build a collection of good glass for a S35 or FF35 later on.
 
Galimathias said:
Hi

Just a quick Q&A:

Who's up for the 2/3 fixed lens and who's for the 2/3 cinema?

Personal I'm on the cinema just because of the possibility to change the lens
Click to expand...

Changing lens is essential for any kind of application that goes beyond a birthday video imho. Of course, for run and gun work is pretty difficult to change lens (that's one of the reasons zooms exist), yet, especially if you want to be a pro, always having the possibility to switch through lens sizes is mandatory.

Honestly, buying a fixed Scarlet to be used with a Letus is pretty senseless: the whole kit (without the lenses) would end up costing like buying the 2\3 Cinema.

The full fixed lens kit (at the moment) is supposed to cost 3750 $. A Letus Extreme (without optimization for the singular camera system) will take you some extra 1200 bucks (ok, 1199 - but we aren't calculating shipping expenses...and they won't definetly charge 1 dollar) - so far you're already around 4950 dollars and what you have is a speed-taking, independetly juiced adapters with no lenses mounted on a camera that might perform better independetly albeit with only one lens.
 
Emiliano Ranzani said:
Changing lens is essential for any kind of application that goes beyond a birthday video imho. Of course, for run and gun work is pretty difficult to change lens (that's one of the reasons zooms exist), yet, especially if you want to be a pro, always having the possibility to switch through lens sizes is mandatory.
Click to expand...

Please don't take this personally, because its offered as constructive input:

This thread has multiple longtime professionals (me included) on it who have posted that they will also get a fixed lens Scarlet for some of their professional applications - and you come on here making highly inaccurate statements like that?

If changing lenses is essential for any kind of an application beyond a birthday party, that's definitely new info for the tens of thousands of television professionals who shoot daily with the same zoom lens on their cameras (they could change lenses but they hardly ever do), and everyone who uses other fixed zoom lens cameras like an HVX, EX1, etc. - and yet they're doing professional motion media work daily. There are also a certain percentage of cine-style shooters who use zooms almost exclusively - but they're not real "pros" because they use zooms, and rarely change lenses? In the hands of pros who are used to shooting with zoom lenses, use zooms as variable primes, have pro-level camera skill sets, and open minds, a fixed lens Scarlet, with a 2x extender and wide angle converter will be a very potent pro camera system - that will be able to shoot either RGB (if it stays in the specs) or RAW.

There are professional styles and genres that inherently call for zooms, and there are others that call for primes. Real pros know when to use each, avoid developing biases, prejudices, and elitist attitudes toward other professionals, and just go out and get outstanding images - with whatever camera system they pick for a project.

If someone wants to be a real "pro", they keep an open mind, realize that cine-style using primes is but one sub-style of professional motion media work, that each project, genre, style, and sub-style of shooting calls for different types of lenses and accessories, and above all else they give respect to all the other shooters, styles, and equipment setups - that's what a real pro does.

Again, there are multiple longtime professional shooters on this thread who have posted that they will be getting a fixed lens Scarlet for some of their pro level work. I'm one of them. I'm a 30+ year veteran EFP style, cine style, and with R1 usually a hybrid style shooter, I've owned and extensively used my multiple RED One cameras for over two years now - and as soon as they're available I'll be buying a FF35 Epic, an Epic X, a FF35 Scarlet DSMC, and four fixed lens Scarlet - all for professional use. I don't do birthday videos - but I have done several hundred national television programs, scores of commercials, and tons of high end business productions. I don't "want to be a pro" - I've been one for decades - and I don't view switching of lenses as mandatory - I only do that when its called for.

IMO the fixed lens Scarlet will fill a very useful niche in a pro shooter's kit :)
 
DCC Erickson said:
I just want to fill the only niche in my kit. Fixed, please!
Click to expand...

If you have talent, good skill sets, and an open mind you'll do great work with your fixed lens Scarlet....just maximize its potential and I think you'll be way pleased with the results. If you work hard you'll probably very quickly have several other RED camera models to go with your fixed lens Scarlet. Then your kit will be like a quiver of arrows - you choose the best one for the job at hand. Until then, IMO fixed lens Scarlet will be a great tool for you to progress, both professionally and financially.

For me, I won't use my fixed lens Scarlets because I have to - I'll use them because they will be the best choice for certain projects, and also because I really like the grass roots challenge of getting great footage from what some others might erroneously view as a prosumer camera.
 
Like the Fixed, and will own it, but I wish I can have that lens for the Interchangeable 2/3 Scarlet also.
 
Joseph Ward said:
Like the Fixed, and will own it, but I wish I can have that lens for the Interchangeable 2/3 Scarlet also.
Click to expand...

I think everyone will be pleasantly surprised by the optical quality and utility of the zoom lens on the fixed lens Scarlet. I also think that if RED follows through on their initial intention to make top-level optical quality 2x extenders and full zoom-through wide converters, that will give the fixed lens Scarlet the broader utility that enables some really cool shooting options with the camera.

IMO the biggest challenge for all users of the new RED cameras will be for them to have skill sets and attitudes broad enough to match the flexibility and utility of the cameras.

Interesting times ahead...
 
Steve Gibby said:
I think everyone will be pleasantly surprised by the optical quality and utility of the zoom lens on the fixed lens Scarlet. I also think that if RED follows through on their initial intention to make top-level optical quality 2x extenders and full zoom-through wide converters, that will give the fixed lens Scarlet the broader utility that enables some really cool shooting options with the camera.

IMO the biggest challenge for all users of the new RED cameras will be for them to have skill sets and attitudes broad enough to match the flexibility and utility of the cameras.
Click to expand...

I agree - I think this lens is going to be pretty great (T2.8 through the whole range, wasn't it?!), and the converters would be very useful.

My only worry is that its low price opens it up to a market full of people who might not get the whole RAW workflow, and expose it incorrectly, get dodgy footage out of it and then complain about the camera... And those who won't understand the post workflow (which is pretty easy with FCP and Premiere CS4, but still)...
 
Stephen Gentle said:
I agree - I think this lens is going to be pretty great (T2.8 through the whole range, wasn't it?!), and the converters would be very useful.

My only worry is that its low price opens it up to a market full of people who might not get the whole RAW workflow, and expose it incorrectly, get dodgy footage out of it and then complain about the camera... And those who won't understand the post workflow (which is pretty easy with FCP and Premiere CS4, but still)...
Click to expand...

Yes, T2.8 was in the initially proposed specifications...subject to change of coures...but IMO that won't change. RED knows if its going to be a fixed zoom, it needs to be a fast, good optics zoom.

If switchable RGB or RAW recording stays in the specifications, then those who are new, new to RAW shooting, or just want a "point and shoot" camera could probably just shoot RGB, and enable what auto features the camera has. More advanced shooters would have lots of options - raw or RGB, auto or manual, lots of alternate setup profiles, etc. Depending on the file extension of RGB files, editing the footage may be quite easy in a number of NLE solutions...we'll see.

I like lots of options :thumbup:
 
Steve Gibby said:
Please don't take this personally, because its offered as constructive input:

This thread has multiple longtime professionals (me included) on it who have posted that they will also get a fixed lens Scarlet for some of their professional applications - and you come on here making highly inaccurate statements like that?

If changing lenses is essential for any kind of an application beyond a birthday party, that's definitely new info for the tens of thousands of television professionals who shoot daily with the same zoom lens on their cameras (they could change lenses but they hardly ever do), and everyone who uses other fixed zoom lens cameras like an HVX, EX1, etc. - and yet they're doing professional motion media work daily. There are also a certain percentage of cine-style shooters who use zooms almost exclusively - but they're not real "pros" because they use zooms, and rarely change lenses? In the hands of pros who are used to shooting with zoom lenses, use zooms as variable primes, have pro-level camera skill sets, and open minds, a fixed lens Scarlet, with a 2x extender and wide angle converter will be a very potent pro camera system - that will be able to shoot either RGB (if it stays in the specs) or RAW.

There are professional styles and genres that inherently call for zooms, and there are others that call for primes. Real pros know when to use each, avoid developing biases, prejudices, and elitist attitudes toward other professionals, and just go out and get outstanding images - with whatever camera system they pick for a project.

If someone wants to be a real "pro", they keep an open mind, realize that cine-style using primes is but one sub-style of professional motion media work, that each project, genre, style, and sub-style of shooting calls for different types of lenses and accessories, and above all else they give respect to all the other shooters, styles, and equipment setups - that's what a real pro does.

Again, there are multiple longtime professional shooters on this thread who have posted that they will be getting a fixed lens Scarlet for some of their pro level work. I'm one of them. I'm a 30+ year veteran EFP style, cine style, and with R1 usually a hybrid style shooter, I've owned and extensively used my multiple RED One cameras for over two years now - and as soon as they're available I'll be buying a FF35 Epic, an Epic X, a FF35 Scarlet DSMC, and four fixed lens Scarlet - all for professional use. I don't do birthday videos - but I have done several hundred national television programs, scores of commercials, and tons of high end business productions. I don't "want to be a pro" - I've been one for decades - and I don't view switching of lenses as mandatory - I only do that when its called for.

IMO the fixed lens Scarlet will fill a very useful niche in a pro shooter's kit :)
Click to expand...

Thank you for your thoughts Steve. One of the few reasons why I'm considering buying the S35 Scarlet over 2/3 fixed is potential client's attitudes.

Most of my output goes on TV or DVD/Bluray so I don't need the full 5K resolution. I've got a DSLR and multiple film cameras for my stills work anyway.

I could get the S35 brain and use all my stills glass for $7,000 + $? for modules to get this thing operational...or I could get two complete 2/3 fixed with all the trimmings and media for that price and offer my clients Ramping, 150fps burst shooting etc.

I do hope that RED make high quality extenders and wide angle converters for the 2/3. That would be the final cherry on the icing for me.
 
Stephen Gentle said:
My only worry is that its low price opens it up to a market full of people who might not get the whole RAW workflow, and expose it incorrectly, get dodgy footage out of it and then complain about the camera... And those who won't understand the post workflow (which is pretty easy with FCP and Premiere CS4, but still)...
Click to expand...

Who knows? Maybe that will result in a glut of barely-used cameras on the market for a nice price. :party:

What would have been nice to see (if technically possible - I have no idea) would be a hybrid model with a fixed-style removable lens, one that interfaces electronically with the body of the camera but that could be removed so other lenses could be used.

Anyway, the 2/3" fixed will be my choice, mainly because of cost. Maybe someday I'll move up to a more advanced model.
 
Steve Gibby said:
IMO the biggest challenge for all users of the new RED cameras will be for them to have skill sets and attitudes broad enough to match the flexibility and utility of the cameras.

Interesting times ahead...
Click to expand...

Interesting indeed - like going from a Honda Accord to a Maserati. I'll be driving about 20 MPH until I get a feel for it.
 
Dave Barak said:
Who knows? Maybe that will result in a glut of barely-used cameras on the market for a nice price. :party:

What would have been nice to see (if technically possible - I have no idea) would be a hybrid model with a fixed-style removable lens, one that interfaces electronically with the body of the camera but that could be removed so other lenses could be used.

Anyway, the 2/3" fixed will be my choice, mainly because of cost. Maybe someday I'll move up to a more advanced model.
Click to expand...

I'm very curious about the scarlet's compatibility with electronic lenses. On the site, it says "Mount includes power and intelligent lens interfaces"... does this mean we'll have the VR and AF of our still lenses? Or will this apply only to Red's electronic lenses in the pipeline?
 
Steve Gibby said:
I also think that if RED follows through on their initial intention to make top-level optical quality 2x extenders and full zoom-through wide converters, that will give the fixed lens Scarlet the broader utility that enables some really cool shooting options with the camera.
Click to expand...

This would be pretty slick if it's true. Where was this mentioned?
 
Steve Gibby said:
Stephen Gentle said:
I agree - I think this lens is going to be pretty great (T2.8 through the whole range, wasn't it?!), and the converters would be very useful.
Click to expand...
Yes, T2.8 was in the initially proposed specifications...subject to change of coures...but IMO that won't change. RED knows if its going to be a fixed zoom, it needs to be a fast, good optics zoom.
Click to expand...
It has indeed changed. It's now a T2.4 (of course, that could change, too).
 
Gregory Leno said:
This would be pretty slick if it's true. Where was this mentioned?
Click to expand...

Here on RED User by Jim and other members of RED Team. All things related to the Epic and Scarlet cameras are subject to change until the specifications are finalized, but IMO RED will make the 2x extender and wide converter they mentioned, because those lens add-ons are something that almost every buyer of the fixed lens Scarlet would also want. They will greatly increase the utility and versatility of the camera. I would also think RED would make them because they would feel that RED was in the best position to perfectly match the 2x and extender to the fixed lens on Scarlet, in terms of optics, coatings, performance, etc.
 
You must log in or register to reply here.
Back
Top