Fixed or not

[David Rasberry]

I never said broke students have access to HD 2/3 glass, but the 16mm glass is definitely accessible. A used Angie zoom (and a host of other respectable glass) and a 2/3" cinema model will allow the same access to students wanting to shoot, that most of the current 1/3"CCD cams (and possibly cheaper than the 1/2" option) allow...if priced anywhere near the original posted figures. This fact isn't even considering the longtime 16mm/S16mm shooters

Big plus for film schools too. Now they can offer students a choice of 16mm film or state of the art digital using the same lenses without breaking the bank to upgrade their equipment inventories.

 

[Stephen Gibson]

That is true David, I wouldn't at all be surprised to see a large subset of indie features, documentaries, and student shorts in this format.

I have been dead set on an S35, but working with a a 2/3" sensor shooting industrials, has sold me on the interesting possibilities of working with the format. Its going to be fun to see a high quality digital 16mm influx, amongst a sea of shallow focus shooters.

 

[David Rasberry]

That is true David, I wouldn't at all be surprised to see a large subset of indie features, documentaries, and student shorts in this format.

I have been dead set on an S35, but working with a a 2/3" sensor shooting industrials, has sold me on the interesting possibilities of working with the format. Its going to be fun to see a high quality digital 16mm influx, amongst a sea of shallow focus shooters.

I wish they had named Scarlet 16 digital cinema instead of 2/3". Some people might have a more open attitude about it.

 

[Stephen Gentle]

You really think these 2 are ENG cameras?

Not at all - that was a list, meaning "pretty much any ENG camera, in addition to the Sony F23 and F900, as well as many other cameras".

You think it is fair to compare a 3CCD 2/3 cameras to a single CMOS 2/3 camera? Let's be real.

Yes. They all have different downsides and upsides, but since the Scarlet is so high resolution, it should easily resolve at least as much (if not much more) resolution as them.

 

[Steve Gibby]

Not at all - that was a list, meaning "pretty much any ENG camera, in addition to the Sony F23 and F900, as well as many other cameras".

Maybe I read your original post wrong Stephen, missing you're meaning, but to help others avoid confusion here are some thoughts:

ENG = Electronic News Gathering. The F23 and F900 are almost never used for any news gathering

All to often confusion is born when the term ENG is used to describe all 2/3" full form factor cameras that use B4 lenses. I see this mis-use of terms all the time on these forums. The F23 and F900 would more accurately be termed EFP cameras - which also can be lensed and accessorized for digital cinema applications.

EFP = Electronic Field Production. For EFP use, the F23 and F900 can be used in either hardlined EFP (truck, studio) or non-hardlined EFP (mobile, independent).

For a simple breakdown of the difference between ENG, hardlined EFP, and non-hardlined EFP, and RED One's suggested use in them, anyone interested can check out my sticky post at the top of the EFP/ENG for RED forum here on RED User.

Link: http://205.234.135.241/forum/showthread.php?t=1091

On that forum there's also a "RED Scarlet for ENG work?" thread active:
http://205.234.135.241/forum/showthread.php?t=35343

Subject to the final specs, I believe both of the 2/3" Scarlet models will see extensive use in the EFP and ENG industries. I know many here want to be a "filmmaker", but the fact is it is a huge motion media production business beyond narrative cinema - and IMO the Scarlet 2/3" cameras, by their probable features, will be pointed directly at the myriad of EFP and ENG genres of production. We'll see...

I'll be one of the first to receive Epic and Scarlet cameras. After Epic and Scarlet ship and I can check them out in the field, I'll be creating and "EFP/ENG and Scarlet" and "EFP/ENG and Epic" sticky posts for placement somewhere here on RED User.

 

[DDahlquist]

Single chip vs 3 chip

Single chip vs 3 chip

I think the single CMOS will look fantastic.
I had a hybrid single 2/3 in 90-91 and it looked real good. I used it as a back-up/B-roll camera to my BVP-300
Admitted it did have its limitations of the times, 1 channel of audio(PZM)
Hi-8 tape format and slow glass. but with all that I saw the potential. It had a manual lens with a auto assist. But in the hands of a experienced operator it produced a very good image.

So with the advances in lens/chip technology I think we will have another useful tool to add to a cinematographers tool kit.

 

[Myles]

I've recently become interested in making films, after taking a course at Cape Town's Wildlife Film Academy, relatively late in life, and have decided I would like to buy a camera with 2 projects in mind: a wildlife film about river life and a short film about an orphanage in South Africa. I have a budget of max 3k just for a camera (already have an audio solution). I've been considering Canon's 7 or 5D but now I'm swinging towards the Red Scarlet. I'm fairly new to this business and I'm somewhat overwhelmed by all the options - so please go easy on me if I appear misguided.

Here's my question: what do you think would be the best camera for these projects - fixed or interchangeable Scarlet?

I could save up for a lens or two over the coming years - but I'm eager to get practising as soon as possible since I'm heading out to the orphanage next summer and I don't want to fumble haplessly with the camera and end up with awful footage!

 

[David Rasberry]

Here's my question: what do you think would be the best camera for these projects - fixed or interchangeable Scarlet?

Fixed Scarlet will be the bargain of the century in the under $10k video camera market I think. That said, a $6k budget is probably a more realistic range for a practical Scarlet field package with all the necessary accessories like batteries and recording media.

We will know more about pricing at the end of this week hopefully.