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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 :)

Red Scarlet-W Footage yet?

Brian Nguyen said:
I'm on a pretty outdated and old PC (over 5 years old) but I was able to edit and color very easily. I just transcoded the R3Ds into 720p Quicktime proxies that I used for editing in DaVinci Resolve. Then just replaced the proxies with the original R3D's and colored, then exported to a 1080p H264 final that I uploaded to Youtube. All done in Resolve.
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ah, thank you, so divinci was able to read the r3ds?
i thought that was a problem, but maybe not anymore!
 
Nick Morrison said:
Not necesarily. All DSMC2 cameras can do 120fps at 4K and 240fps at 2K. Just Weapon cameras have lower compression.
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I guess I meant to say that 2k HFR on any of the Reds really aren't usable, that much crop to the sensor really limits the image. The Epic and Weapon give you the high frame rates at the usable resolutions, or what I consider usable, though your definition may vary depending on your applications.

For what it's worth, 240 fps at 2k on the Scarlet-W in my video was only at 8:1 compression, which is a pretty standard compression ratio.
 
Brian Nguyen said:
I guess I meant to say that 2k HFR on any of the Reds really aren't usable, that much crop to the sensor really limits the image. The Epic and Weapon give you the high frame rates at the usable resolutions, or what I consider usable, though your definition may vary depending on your applications.

For what it's worth, 240 fps at 2k on the Scarlet-W in my video was only at 8:1 compression, which is a pretty standard compression ratio.
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Yeah that was pretty soft for a 8:1 compression, i guess it comes down to how the sensor threats that much crop...
Otherwise, nice video ;)
 
John Shofner said:
Alrighty, Ive got a rough draft up. Interested to see what you guys think. Shot mostly at 5K 2:1 60FPS as well as 4K 2:1 150FPS nothing lower. Some 5K 23.976 for scratch audio. So nice to have after having had rented Epics and having to get mics.

Ive never edited from proxies before, so that was new and actually pretty cool. Waiting on the team for final graphic assets and approval for a final.

I shot everything in about 5 hours... I was supposed to have two days but the camera was sent priority overnight with FedEx and then their plane had a mechanical. So I got it late on the second day. :mad2:

Sigma 18-35 ART
Sigma 50mm 1.4 ART
Canon 100mm Macro
Canon 70-200 ISII

http://bit.ly/1qloGV3 - DropBox to 4k H.264 file

https://vimeo.com/160861772 - Vimeo in 4K

Cheers!
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In case you guys haven't seen this post yet. Some great Scarlet-W footage here by John Shofner.
 
Thanks Brian for sharing! I'm completely new to RED, (I'm coming from DSLR). I have a Scarlet-W in order because I want to skip lower-mid range cameras like the fs7 and stuff. Beside the amazing color science and RAW formats, I'm really interested in HFR, I think they are also an outstanding feature of the REDs. What do you think are the highest, usable framerats on the Scarlet-W (in 2:4.1) like 200fps@3k 2.4:1 or 150fps@3k 2.4:1 at a lower compression rate?

I really like the way how Liam Underwood (Skrillez & Diplo - Mind) makes his videos, he's also shooting on RED (Epic-X I think). For a newcomer like me it's hard to tell how much fps are really needed for these kind of videos. What do you guys think?
 
Filipe Abreu said:
Sometimes clients do ask for slowmotion. 120 at 4k in that clip looked really good. The thing is when you are about to spend more than the double for a red vs a sony you expect it to tick all the boxes. These are exciting times for the camera markets, but there are a lot of players in the market right now. Varicam LT, canon c300 mk II, possibly soon the c500 mk II, red Raven vs red scarlet w. And then theres the super cheep Fs7, i own it for almost a year and it is very good for the price, i just sold it because i have a feeling NAB 16 will be hard for sony fs7.
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you really like your FS7 but you sold it because you think NAB will be hard for the Fs 7? Wtf...thats pretty stupid in my opinion! How people can get obsessed by gear...
 
Janis Huber said:
you really like your FS7 but you sold it because you think NAB will be hard for the Fs 7? Wtf...thats pretty stupid in my opinion! How people can get obsessed by gear...
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It is in fact your opinion, i paid my FS7 in 6 months and made profit with it, and then sold it for a good price while it is still hot. I am working with a smaller setup right now. And i am just waiting for NAB 16. What is so wrong with it ? Thats the problem with Sony cameras, their life is too short money-wise. I am thinking about going red route for that reason.
 
Filipe Abreu said:
It is in fact your opinion, i paid my FS7 in 6 months and made profit with it, and then sold it for a good price while it is still hot. I am working with a smaller setup right now. And i am just waiting for NAB 16. What is so wrong with it ? Thats the problem with Sony cameras, their life is too short money-wise. I am thinking about going red route for that reason.
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Honest question...how do you mean their life is too short money wise? Isn't the camera still working ? Isn't it still making money and doing what you need it to do?
 
Matthew Quinn said:
I am taking my Scarlet-W on a commercial shoot on Sat. I will ask the agency if I can post a few shots. If not I will roll some footage after the shoot.. expander comes today so... Im super excited
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Hopeful and looking forward to seeing this. Thanks!
 
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