How do you think canon , and all the concurent s are going to react ?

[David Rasberry]

Scarlet will need a full raster 1080p clean feed from 4k/3k/2k HD formats to an external recorder for quick turn EFP video work. Shouldn't be much of a problem to set up LUTs that will give you a high quality video signal for this kind of work once the firmware is capable.

 

[Madjid El ayari]

Quotes like this just make you sound like a fanboy. I know how to work a RAW workflow, I know when to work a RAW workflow. I also know that not all projects need it and I certainly can live without it.

Don t get offended I wasn t saying that for you ......i don t know your work , and i don t judge without seeing .

Me i cannot live with high control over the tool of a cam , for me education , raw and compressure are a huge part of filming ! And if i reckon that red seems to take that really seriously too , then i am a fanboy, of the company who take tese question really really serously too !

 

[David Rasberry]

Just saying that is better to control the compression over an hdmi or hdi recorder !

Shouldn't make any difference for 10 bit 4:2:2 HD. HDMI and SDI are just signal paths. They both support multiple formats compressed or uncompressed.

 

[J Davis]

Scarlet will need a full raster 1080p clean feed from 4k/3k/2k HD formats to an external recorder for quick turn EFP video work. Shouldn't be much of a problem to set up LUTs that will give you a high quality video signal for this kind of work once the firmware is capable.

exactly - and they will need to implement this fast or miss a lot of work to the c300.
All of my larger ad agency and start up clients here in Manhattan are watching carefully as the 2012 budgets for expenditure on equipment for their broadcast departments comes up in January

 

[David Rasberry]

exactly - and they will need to implement this fast or miss a lot of work to the c300.
All of my major ad agency clients are watching carefully as the budgets for expenditure on equipment for their broadcast departments comes up in January[/QUOTE

I expect the C300 will rule the broadcast markets in its price category. Their MXF 50mb codec is very good and already BBC approved. Red is a different beast altogether.

 

[Jay Birch]

A Scarlet + external rig defeats the purpose for me.... I am tired of frankenrigs.... This is why both Scarlet and the C300 appeal to me. I can shoot a decent codec to an internal memory on a light, compact rig. The C300 looks so light and quick to set up and will be very cheap to power and add storage.

If time and money were no object, the Scarlet would cater for most of our needs (C300 will probably beat it in low light, for now)....... but time and money are very much an issue in this climate.

As I said, I see us having both cameras and being well covered for several years.

 

[Rick Idak]

I was looking forward to the Scarlet 3K camera with a 2/3 inch sensor.I have a couple of good super 16 lenses.Having owned and shooting on super 16.I do like that depth of field.Remember most of us have been spoilt.A 2/3 inch vid camera was top end not so long ago.I would still be happy with a 2/3 and 3K 4:4:4 12 bit camera for $6,000.Most editors struggle with even that.Remember the Star Wars films were shot on Sony 1080 x 1440 with a 2/3 sensor and a color space of 3:1:1.
They looked fine on the big screen.

 

[Stefan Antonescu]

Remember the Star Wars films were shot on Sony 1080 x 1440 with a 2/3 sensor and a color space of 3:1:1.
They looked fine on the big screen.

I don't know if this is the best exemple.
Somebody please correct me if I'm wrong, but wasn't Star Wars shot most on a green screen ?

 

[Gunleik Groven]

(...)
Somebody please correct me if I'm wrong, but wasn't Star Wars shot most on a green screen ?

So, you're saying Star Wars consists of composites????????

LOL

 

[Paul Ellington]

Quotes like this just make you sound like a fanboy. I know how to work a RAW workflow, I know when to work a RAW workflow. I also know that not all projects need it and I certainly can live without it.

And that's why you pop on a Sound Devices module or Red Module and call it a day. In my opinion shooting on a subpar, more expensive, less modular, ugly, noisy camera because it's convenient is kinda selling yourself and the client short. I am sure you and your company mean well, but, and this is without me being a fanboy, I am trying to make sense of why you would pay 20K for something you could get for 10K Scarlet + Atomos ninja 1500, and it's a wrap plus you have the option of shooting 4K, not that you need it like you say, but, it's there, and it's less noisy, but Canon and Arri lovers have by my estimation about 2 years until they cease to make digital cameras - they will not be able to keep up - FACT!

 

[Jay Birch]

What do you mean, less noisy? RED is pretty good up to about ISO 2000, but the Canon looks clean at ISO 6400 and usable at crazy ISOs.

Like I have already said, we are tired of frankenrigs and we are looking at buying at least 2 cameras anyway. I think the Scarlet and C300 will play well together as a team and will get used in very different jobs individually. If you think we would be selling our customers short buying using a C300, you must be the kind of person that judges a camera solely on a spec sheet.

As for "Arri Lovers"... isn´t Jim one of those? I don´t believe for a minute that Arri will cease to make digital cameras, they will have a 4k camera soon enough and it will be the toast of Hollywood....

 

[Madjid El ayari]

I am trying to make sense of why you would pay 20K for something you could get for 10K Scarlet + Atomos ninja 1500, and it's a wrap plus you have the option of shooting 4K, not that you need it like you say, FACT!

I agree ! I think controling the compressure over an external tool , it s definitely a huge +. At least you decide and control everything and deal with all the situtation you can be confronted to.

The only good point i found over the c300 it s the full frame sensor wich gives no crop factor for the lens ....... but then i don t get the point , expect for brodcast worker , who need quick compression and know how to deal with the limited programmed codec canon compressure .

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