Stephen Matthews
Well-known member
I don't think you need a full crew to get a good image out of a scarlet, but it wouldn't hurt obviously. Yes the camera and the work flow are advanced but that is what some shooters across all ages want and are ready for. Dealing with R3D's is not that hard as long as you know what your delivery format is and what work flow you are going to use. I think every new groundbreaking camera system requires you to learn a new work flow it's part of the process. And if you can't figure it out there are plenty of post facilities who know how to handle it just fine. Now that is more of an option for productions with money, but if you are just tinkering then you should have the time to learn.
bottom line is we are talking raw video here, and for under 10k with high frame rates, time lapse recording, pre record, and many more. Some people will jump through whatever hoops in post they have to to achieve this level of quality and control (though you don't really have to as long as you know your work flow).
young shooters will always have some camera that to them is the holy grail that will fix all there shooting woes unfortunately it's never the case. For me back in the day it was the xl1 I'm young I know but at the time when I started out to me that camera would solve all my problems and if I could get it there would be no limit to what I could make. A year later I got a hd-100u, I didn't make my first movie I didn't skyrocket in ability, I just slowly began to learn the camera and the craft, slowly. Around that time I herd of the red one while looking up the highest definition available camera's at the time. I fell in love but it was still in development and way out of my price range. So I tucked it away in my head until I had the money to afford one and kept on working. now scarlet is light years above the rest in terms of proposed stats so I can understand how angry some are getting over this just itching to get it and shoot their Moby dick of films.
Thing is someone could make beautiful movies on a shoe string budget with a small crew and a scarlet. While others might use it in indi's with a larger crew and proper budget and the scarlet should still hold up like 16mm (hopefully we'll see). Or I believe you could have some kid by himself out there living and breathing art without knowing it (not me) could make an amazing one man show of a movie with these camera's and take us into a new form of movie making more akin to painting or writing.
mah I guess we will see but as I have stated before I doubt they will crumble under the pressure. the mx'ed red one's should be tested by now (should) so the production on p4 should be fine. On the release of the new cameras I'm sure Jim is not going to let them out of the oven until they are just right.
to a future filled with much better camera's and less restrained artists.
bottom line is we are talking raw video here, and for under 10k with high frame rates, time lapse recording, pre record, and many more. Some people will jump through whatever hoops in post they have to to achieve this level of quality and control (though you don't really have to as long as you know your work flow).
young shooters will always have some camera that to them is the holy grail that will fix all there shooting woes unfortunately it's never the case. For me back in the day it was the xl1 I'm young I know but at the time when I started out to me that camera would solve all my problems and if I could get it there would be no limit to what I could make. A year later I got a hd-100u, I didn't make my first movie I didn't skyrocket in ability, I just slowly began to learn the camera and the craft, slowly. Around that time I herd of the red one while looking up the highest definition available camera's at the time. I fell in love but it was still in development and way out of my price range. So I tucked it away in my head until I had the money to afford one and kept on working. now scarlet is light years above the rest in terms of proposed stats so I can understand how angry some are getting over this just itching to get it and shoot their Moby dick of films.
Thing is someone could make beautiful movies on a shoe string budget with a small crew and a scarlet. While others might use it in indi's with a larger crew and proper budget and the scarlet should still hold up like 16mm (hopefully we'll see). Or I believe you could have some kid by himself out there living and breathing art without knowing it (not me) could make an amazing one man show of a movie with these camera's and take us into a new form of movie making more akin to painting or writing.
mah I guess we will see but as I have stated before I doubt they will crumble under the pressure. the mx'ed red one's should be tested by now (should) so the production on p4 should be fine. On the release of the new cameras I'm sure Jim is not going to let them out of the oven until they are just right.
to a future filled with much better camera's and less restrained artists.
