Scarlet and Nikon lens...

[Matt Setnes]

A canon 1Ds is $7K... and the performance of a system is what makes it professional. Does a Canon 1Ds (which I own) shoot 120 fps? I forgot.

Jim

Haha, touche. Having a day break from the news, and seeing the reasoning for the price, I now agree and am fully content with the lens issue. Except for one comment made in regards to the speed and frame rate. I'd really like to see this lens preform at 2 as well. Other than that I'm sold. Sorry for the trouble Jim, I didn't have breakfast yesterday. :innocent:

 

[Bryan Bishop]

When you say fully auto, you DO mean the ability to turn ON fully auto, right? We're not going to be stuck with some camera that only does auto focus or auto-iris, right?

I wouldn't think so, but this comment has me even more concerned.

Have you read the specs listed on red.com?

"FULL AUTO OR FULL MANUAL SHOOTING MODES"


I can only hope all our narrative projects have this much drama.

 

[Sanjin Jukic]

Sorry Sanjin (and everyone else that missed the point). Just buy a RED ONE and you have every option you are all asking for.

Here is the missing point... for us to sell this package at this price, we have to sell A LOT of them. That means it has to be able to be used by many. Like it or not, that means a version that is fully auto. Interchangeable lenses means a different product that will sell in limited quantities... which means a higher price. Much higher.

This is a camera that can be sold in large quantities and deliver Pro performance at the same time.

Jim

Thanks Jim,

as you said at the last sentence:

"This is a camera that can be sold in large quantities and deliver Pro performance at the same time."

I will order two Scarlets to be safe for shooting in a different situation.

 

[Bob England]

This is a camera that can be sold in large quantities and deliver Pro performance at the same time.

Jim

It'll be interesting to see how large quantities of people (who presumably will be coming off of prosumer camcorders) deal with Redcode RAW. Perhaps Scarlet will have a juicy color look preapplied in the metadata by default.

 

[Luis de la Cerda]

Sorry Sanjin (and everyone else that missed the point). Just buy a RED ONE and you have every option you are all asking for.

Here is the missing point... for us to sell this package at this price, we have to sell A LOT of them. That means it has to be able to be used by many. Like it or not, that means a version that is fully auto. Interchangeable lenses means a different product that will sell in limited quantities... which means a higher price. Much higher.

This is a camera that can be sold in large quantities and deliver Pro performance at the same time.

Jim

What about the digital rebel/nikon d40/70 market? I don't know the exact numbers but judging by the price of those cameras, it sounds like a massive numbers market. They come with a kit lense for the soccer moms and offer the possibility of repeat business for those who want more lenses. The removable lens system also adds to the perception of being a professional tool by consumers.

Just so this is perfectly clear, speaking for myself, I'm really excited about the development of this camera. I'm not suggesting the interchangeable lens system to try to be annoying to you guys. Scarlet sounds like the perfect complement for the red one. It'll be able to pul off shots the red one will not, just as red one will be able to do stuff scarlett will not. I'll be buying one of each regardless of the path you decide to follow lens wise, just so you know Please congratulate your whole team and congratulations yourself for the amazing string of achievements you've accomplished over the past couple of years.

 

[Daniel Browning]

It'll be interesting to see how large quantities of people (who presumably will be coming off of prosumer camcorders) deal with Redcode RAW. Perhaps Scarlet will have a juicy color look preapplied in the metadata by default.

The "RGB" part of the spec probably means that REDCODE wont be the only option. If native redcode support doesn't make it to the $50 bargain-bin NLE suites by the time Scarlet is released, maybe RED will put an AVC Intra option on Scarlet to cater to the pleebs. They might even do a high bitrate RGB (8-bit log RGB 36 MB/s wavelet?) for people who have an irrational fear of raw, intolerance for transcoding, and/or non-native-capable NLE.

 

[Sanjin Jukic]

It'll be interesting to see how large quantities of people (who presumably will be coming off of prosumer camcorders) deal with Redcode RAW. Perhaps Scarlet will have a juicy color look preapplied in the metadata by default.

Bob,

I'm already getting the pictures from RED like "a juicy color look preapplied in the metadata" without any CC professional education or just like an ordinary consumer.

Have a look

The shots from RED ONE with Arriflex/Zeiss Planar T*2.1 85mm (a vintage lens from 80's).

 

[Bob England]

Ahh, simply gorgeous! Must be the Vienesse lighting... :wink:

 

[Radoslav Karapetkov]

Wonder how Scarlet would perform with a good 35 adapter?...

 

[Joseph Regner]

Have you read the specs listed on red.com?

"FULL AUTO OR FULL MANUAL SHOOTING MODES"


I can only hope all our narrative projects have this much drama.

I would hope if we can't change Jim's mind about interchangeable lens then we would please at least get a focus and iris ring on the fixed lens! Please Jim!

 

[Sanjin Jukic]

Ahh, simply gorgeous! Must be the Vienesse lighting... :wink:

All natural lighting or daylight, on the balcony and in the room.

Viennese or not but I would connect it with April daylight.

If you are a bit experienced photographer in your memory should be written a sort of a Light Calendar where are written conditions like a daytime, season, geographical position, sea level position, temperature, humidity, etc...

 

[Joseph Hutson]

How dumb is it to ask for a Nikon mount on Scarlet?

What would you shoot wide with? There are NO Nikon lenses designed for a 2/3" sensor.

What are you thinking?

Jim

just please could you get a lens that has more than just 8X?

Don't get me wrong...what you did today was awesome as it is.

I shoot a lot of sports events, and was just curious if I could get a longer zoom.

Thanks even if you can't!

 

[brandon herman]

Having 3k and RAW won't make you a better shooter. Maybe worse, because every small mistake is magnified with such a high resolution.

I have to strongly disagree. Having 3k allows you to reframe your shots, re-consider compositions, add a slow zoom, etc. Shoot 16x9 for a 2.39 project, and you can add some headroom when your actor stood up. That shot was too wide? Crop it to a tighter shot of your subject.

And RAW gives you absolute control over white balance, midtones, etc.

When I shifted my still photography from .jpgs to high resolution RAW, everything I did changed, and I absolutely became a better photographer.

I prefer to control lighting when I can, but there are times I'm stuck taking shots in the available light. RAW gives me flexibility to play with the tones, and create an interesting look. I can do this without destroying the darker areas, or clipping due to oversaturation, etc....

By and large, RAW will make you a better shooter.

In some ways, this stuff just redefines shooter from "the person with a video camera on set" to mean "the person on set AND the person treating the image through post;" the same way film got developed for 100 years. It's the best of both worlds: the immediacy of digital and the flexibility of a negative.

When I'm at a photoshoot, I know that all I'm doing is gathering raw materials. I truly create the photo later, in Lightroom or Photoshop. I can't wait to have that same freedom with moving images.

 

[Cüneyt Kaya]

I have to strongly disagree. Having 3k allows you to reframe your shots, re-consider compositions, add a slow zoom, etc. Shoot 16x9 for a 2.39 project, and you can add some headroom when your actor stood up. That shot was too wide? Crop it to a tighter shot of your subject.

And RAW gives you absolute control over white balance, midtones, etc.

When I shifted my still photography from .jpgs to high resolution RAW, everything I did changed, and I absolutely became a better photographer.

I prefer to control lighting when I can, but there are times I'm stuck taking shots in the available light. RAW gives me flexibility to play with the tones, and create an interesting look. I can do this without destroying the darker areas, or clipping due to oversaturation, etc....

By and large, RAW will make you a better shooter.

In some ways, this stuff just redefines shooter from "the person with a video camera on set" to mean "the person on set AND the person treating the image through post;" the same way film got developed for 100 years. It's the best of both worlds: the immediacy of digital and the flexibility of a negative.

When I'm at a photoshoot, I know that all I'm doing is gathering raw materials. I truly create the photo later, in Lightroom or Photoshop. I can't wait to have that same freedom with moving images.

you know that you are talking about DI?
redcine has its limitations regarding RAW CC

 

[dieseljunkie]

When I'm at a photoshoot, I know that all I'm doing is gathering raw materials. I truly create the photo later, in Lightroom or Photoshop. I can't wait to have that same freedom with moving images.

You can also become a painter and create everything later.

I am also photographing in RAW format and I mostly take great photos which don't need processing (only sharpening) and only some shots require some more processing. The problem with RAW is that a lot of people do not think about why they do things because they know they can think about it later.

 

[brandon herman]

you know that you are talking about DI?
redcine has its limitations regarding RAW CC

True, REDCINE is not a full CC suite...

....but that's not specifically what i was talking about. What I'm referring to is that

1. the camera shoots RAW.
2. you have "extra" pixels to play with.
3. You can manipulate it all later.

To my knowledge, REDCINE does allow for cropping/reframing. When the plug ins are available, we can bring footage into After Effects or our NLEs and we'll be able to crop.

And are you not planning on doing even a basic "DI" on your projects?

REDCINE is a basic "one light" tool, but you can still do some pretty cool stuff in it. Or export 16bit TIFFs into AE (or even Lightroom) and mask, dodge, vignette, etc....

The entire point of my post was only that having expendable resolution at 3k, and having a wide latitude in RAW, produces a better end product. In effect, it makes you a better shooter. Of course it takes work.

Some of that work has moved from the set to the post suite/desktop, but the possibilities for a superior result are there.

 

[sceneeast]

Wait....did I read this wrong? I saw that the 'lens' didn't have any rings for focus or zoom, but i hoped that was a concepting mistake.

I saw the Scarlet today the focus rings are on the back

 

[brandon herman]

You can also become a painter and create everything later.

The problem with RAW is that a lot of people do not think about why they do things because they know they can think about it later.

I agree that there is a problem when you are using these tools exclusively to fix things. However, mistakes are made/people change their minds/the budget doesn't allow for another take/you don't notice something until looking at it on a 60" screen/etc., etc., etc....

I think that is decidedly different from the approach I use in my photography, which I do feel is more of a painter's approach. I like to work very quickly when working with a model, then take my time to 'find' the photo in the quiet of my editing suite, with no time constraints...

I try to use the color/look/image treatment to tell as much of the story as the composition, aspect ratio, subject, etc...

(If I do someone's headshots, it's a different approach.)

This freedom and flexibility is something I really want to bring to my short films.

 

[Mark Pugh]

How dumb is it to ask for a Nikon mount on Scarlet?

Jim

Just as dumb as it is to put a 1.2 :1 mask on a 4k "Super 35" 16:9 sensor area, put on an anamorphic lens... and call this masked image a 4k option in the menu.

 

[Astermouth]

Moths

Moths

You guys kill me, Jim is the Red Light and you are the Moths....i bet he's not sure if he is the "Pimp" or the "Hooker" right now.....whatever he does, he still gets f***ed in the a**.... and the mouth.
Frickin Nikon/Canon lenses (un-rehoused) are useless for cine work, unless the subject is static.
Besides, 90 percent of you regular posters aint even workin looking at the number of thread replies or posts.
Talk about bite the hand that feeds.
Most of you guys are just whining wanabee amateurs, that cant shoot for shit..
"oh and heres some other piece of s**t i have uploaded".......

I hope Jim closes this forum, or at least vets entry to owner only status.