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  • 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 :)

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Very well put

There is a whole segment that will just love this camera, and a very large segment....
I see my self using my EPIC for narrative stuff, but for the fast, run and gun documentaries, I will go with the fixed scarlet for sure. So much faster and smaller, and still with the great RED quality and feel.

Each camera will have it's own use.


BrianMurphy said:
I am probably the last person on this group that would be expected to take you on Jose. But I will. Not everyone in the world is making the next great feature film or selling cars or chicken or feminine hygene products and soap. Some of us just shoot the "other stuff" for a living. We do docs, corporate blah blah, once in a while get lucky and bag a travel show and get someplace new and some a wedding, bar mitsvah or maybe a bris. Many and I repeat many of the directors and doc producers I work with have a "zoom lens background." They expect you to change framing between questions in a New York Second! Not repo the camera and shift the key and oh yeh while you are at it lets go with the 20 mm. I quite like shooting with a fixed zoom lens when I do this stuff. Sure I have my 35mm adapter right now and a pelican case full of lenses and they get used but, I have to pick my moment and pitch the shots before hand. When I have a morning to bang off three interviews, enough B roll to cover and some candy for the editor I need a zoom on the camera. Many of us travel or work solo. Yes this is not as "sexy" as working with an operator, assists, and someone to go to Starbucks for your skinny decafe,soy laté. We of the Tim Horton's double double crowd are in a different world and we need different tools. A fixed lens Scarlet would be nice but I am not holding my breath, despite the World Premiere. In any case I applaud Jim and the team for keeping a fixed lens option alive in their ever changing plans. Perhaps you may consider accepting and associating with those of us who need such an option slumming, but hey man you might want to look at some of the sh1t that comes out of the hood. So to speak in the vernacular. It is not Digital Cinema, most of the time but it is still a very large sector of the industry.
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BrianMurphy said:
I am probably the last person on this group that would be expected to take you on Jose. But I will. Not everyone in the world is making the next great feature film or selling cars or chicken or feminine hygene products and soap. Some of us just shoot the "other stuff" for a living. We do docs, corporate blah blah, once in a while get lucky and bag a travel show and get someplace new and some a wedding, bar mitsvah or maybe a bris. Many and I repeat many of the directors and doc producers I work with have a "zoom lens background." They expect you to change framing between questions in a New York Second! Not repo the camera and shift the key and oh yeh while you are at it lets go with the 20 mm. I quite like shooting with a fixed zoom lens when I do this stuff. Sure I have my 35mm adapter right now and a pelican case full of lenses and they get used but, I have to pick my moment and pitch the shots before hand. When I have a morning to bang off three interviews, enough B roll to cover and some candy for the editor I need a zoom on the camera. Many of us travel or work solo. Yes this is not as "sexy" as working with an operator, assists, and someone to go to Starbucks for your skinny decafe,soy laté. We of the Tim Horton's double double crowd are in a different world and we need different tools. A fixed lens Scarlet would be nice but I am not holding my breath, despite the World Premiere. In any case I applaud Jim and the team for keeping a fixed lens option alive in their ever changing plans. Perhaps you may consider accepting and associating with those of us who need such an option slumming, but hey man you might want to look at some of the sh1t that comes out of the hood. So to speak in the vernacular. It is not Digital Cinema, most of the time but it is still a very large sector of the industry.
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Awesome.
 
Why are you "offended" by having a choice of a camera that does not suit your needs when suitable options are plenty?

The big feature of fixed lens Scarlet is...fixed lens, which is very high quality lens, perfectly matched and integrated with the camera, offering autofocus and other useful features, not to mention simplicity and dust free operation. I think Scarlet fixed is the most anticipated camera by broad range of users, high end professionals included. I can't think of a better b-cam camera, behind scenes, thight spot, POV, etc...
 
I lugged a RED One around a motocross track for a few hours today, and by the end of it I would have killed for a Scarlet 8x.
 
Make no mistake, The fixed Scarlet will be used to create compelling CINEMA as well as other uses. It's kind of funny that some people attempt to justify the Fixed's existance by saying that it's primarily a documentary or non-cinema camera for film students/prosumers etc. It can be all these things, but it can also be much more.
 
No SCARLET for you, Jose!

I will probably buy the fixed lens SCARLET as a run-and-gun and B cam along with my EPIC-X.
Offended by having options? No way!
 
AnthonyFlores said:
It doesn't mean it has to be anyone's ONLY camera -- unless one fixed lens is all you need (which is the case
for certain industries) ...
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Back in the late 80's I did a bunch of industrials for some insurance companies and several banking banking service companies. It was all done with a little Betacam rig on a cart. There are a lot of guys who do stuff along those lines who'd seldom ever run into a problem with relying on a fixed-lens Scarlet. Not to mention all the guys who'll undoubtedly shoot docs on it.

I'd actually like to see how Scarlet works for shooting TV stuff. I'll bet three on sticks and one or two being flown would make a really nice rig for a small station at a fraction the cost of comparable quality from broadcast stuff. Not to mention how light it's likely to be, so the heads can be way less expensive. You could probably fly a Scarlet on a head rated for as little as ten pounds. That works for live music venues, too. A medium-sized club could offer five-camera shoots for a tiny fraction of what it would normally cost to offer comparable services now.

I'm not sure what there is to be offended by.
 
It will be the perfect camera for some and not for others. Just like the 5D. But if you buy it to modify for PL lenses then there are better more cost effective options. Just that you are shooting with PL suggests you would have budget beyond the Scarlet.

I remember the Canon XL1 and the JVC GY200 that were the first affordable interchangeable cameras out there (sub $6000) but very rarely did I see them without their kit lens in fact that whole market was dominated by the PD150 and DVX100 both had fixed lens. Oscar nominated docs have been shot on these fixed cameras.

I'd be more concerned about storage for the RAW camera. This potential camera is directed to more indie use who don't have the crew to manage footage and the horse power in post to manage footage, add to this the availability of the physical media storage from RED.

Or maybe can you use CF cards to write the RAW data to? Please confirm.
 
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Thanks Joseph. Are there any details on which ones would be suitable, speed, make etc? Did you record to CF card on your BTS?
 
Ash Worth said:
...
I remember the Canon XL1 and the JVC GY200 that were the first affordable interchangeable cameras out there (sub $6000) but very rarely did I see them without their kit lens in fact that whole market was dominated by the PD150 and DVX100 both had fixed lens. Oscar nominated docs have been shot on these fixed cameras.

...
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Yeah, I think people forget how large the zoom ranges are on these smaller chip cameras, making the fixed lens not nearly the detriment it sounds like it would be.
 
I would not be the person who would know such statistics, unfortunately. Probably Stuart or Big Jon.

On both occasions of shooting with the Scarlet, the Side SSD Module has been provided. The first time with a 128GB SSD, while the second time had the 64GB.
 
Peter Moretti said:
Yeah, I think people forget how large the zoom ranges are on these smaller chip cameras, making the fixed lens not nearly the detriment it sounds like it would be.
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The Scarlet has an FF equivalent of 28-224mm. This does not take into account the aforementioned Telephoto and Wide-Angle lens mounts for the FIXED Scarlet.
 
Joseph Hutson said:
The Scarlet has an FF equivalent of 28-224mm. This does not take into account the aforementioned Telephoto and Wide-Angle lens mounts for the FIXED Scarlet.
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For the mathematically challenged (like me), that's roughly the same FOV as an 18-150mm zoom on a Super35mm sensor like the Red One. That's a lot of range for the money, guys.
 
Joseph Hutson said:
...This does not take into account the aforementioned Telephoto and Wide-Angle lens mounts for the FIXED Scarlet.
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Joseph: I don't get how a fixed lens camera can have Telephoto and Wide-angle MOUNTS. So I assume you mean adapters that screw on or bayonet on to the front. Last I remember Jarred said these were on the back burner. Though Gibby expected/hoped someone like Century/Schneider to have something available. Have you seen something you can talk about?

And while I'm asking questions, here are a few that you might be able to answer: does Scarlet have an HD-SDI out? Was the Base I/O module displayed at NAB? And does the Base I/O have HD-SDI out, digital audio in?

Thanks!
 
From what has been previously announced the base I/O module has analog audio in, timecode, HDSDI out, genlock and GPI control interface. Basically the same I/O layout as Red 1. Pro I/O has the digital audio I/O and full size XLR's instead of mini's.
 
I see RED as a company that yearns for the crowd going wild at each product launch and I believe that Jim (especially) is a person that likes to push the known boundaries at the very bleeding edge. I also think that RED honestly strives for perfection and RED would very much like for every product to be a generation or two ahead of the establishment's current offerings.

I feel that RED is somewhat stuck on Scarlet.

If RED wants to offer products ranging from $6000 to $28000 to $58000, they can't all be "perfect". Well, they can be perfect for their intended audience, but that is where I feel the error is being made. RED want them all to be just perfect, with no "ifs" or "buts".

What RED should have already released is:

  • S35 sensor
  • 2 or perhaps 2.5k
  • interchangeable mount, one included. Canon and similar mounts able to "touch auto focus".
  • side handle with battery
  • 5" display with touch functions
  • CF-module, but SSD optional
  • perhaps 3 codec flavors
  • max 96 fps, or even 60 at full res.
  • NO HDRx
  • NO quality output to circumvent the codec

In other words: a camera crippled enough to not be an option for those that really ought to buy Epic, but a dream for everyone else.

Without the fixed lens this could be sub $5000. Imagine the impact.

It would get exactly the reception RED is dying for...

The answer to why Epic-S is nowhere in sight should be no surprise. It's not nearly crippled enough to be launched now.
 
AndreeMarkefors said:
The answer to why Epic-S is nowhere in sight should be no surprise. It's not nearly crippled enough to be launched now.
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Or just maybe it is the parts shortage....you can bet that they will be churning out these cameras as fast as they can, once the parts are available again at their original price point.

RED's edge in the sub-$10K class remains RAW and HDRx - almost anything else can be purchased through another manufacturer, anymore. But these are pretty unique features, at the moment, and only the buyer can decide how important they are - that space is filling up too fast with competing cameras these days for RED bother building cameras without unique, signature feature sets...
 
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