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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 :)

SCARLET ANNOUNCEMENT - Feedback

On Scarlet? No. You are getting everything we can squeeze in that box for this price with the specs we posted. If you need 4.5K, but a used RED ONE or an EPIC.

Jim

Darren Orange said:
Hey Jarred,

Any word on 4.5K to match RED ONE?

Thanks!
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Is there anywhere I can find a detailed side by side comparison of the Scarlet Vs. the Epic in its various forms? Perhaps even against the RED One? I'd just like to know exactly what the differences are in detail, so I know what is the best way to go. What are the specific things you lose if you go with a Scarlet? If this exists or if RED could generate something like this, that would be super useful. Thanks!
 
Jarred Land said:
Yes they are.. still don't understand what people expect here.... but o well. Can't make everyone happy :)
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I'm just so happy I never have to HOLD a single ROLL of FILM in my hands or BACK!!

The cost? Yeah lets do a little math and see how really INEXPENSIVE the SSD's really are... Oh you mean I can reformat them again... And again... And again?? Oh cool... ;)
 
Maybe the solution to feeling like you are getting more out of your media is to shoot higher compression ratios. You can record for longer periods with excellent approved red media.

I'm glad to see the wide range of compression ratios. For a talking head interview with little movement and a static shot, it makes no sense to capture 3:1, 5:1 or even 7:1 if you are mainly recording for audio.
 
Jarred Land said:
We are not going to offer " risky " media.. even if you sign a contract saying you promise not to get mad at us if something goes wrong... Because as soon as something does, and you rent your camera to some producer and your entire card gets corrupted, 9/10 times the story is going to be:

" it's the RED Camera's fault "

instead of :

" Sorry mr. Producer, I cheaped out and got media that i knew might go bad, and yes mr. producer, I am fully liable. "

We tried to meet halfway with allowing regular CF cards on the RED ONE at reduced speeds.. and that was a total disaster. You would be amazed at the stories....
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To be honest (that's the second time now I've used that line), if RED was my business, I'd almost certainly take the same approach and maintain complete control of the media. It wouldn't be worth the risk of damaging the brand as a result of someone deciding to use a dodgy SSD and complaining about it all over the net. But as a consumer, it's a different story. Don't worry, I do completely understand RED's position (I may not have earlier today) and it's not like your logic doesn't make sense; it makes complete sense. I just think "Damn it'd be nice to be able to jam this spare SSD of mine into my camera". So as a consumer it's not ideal, but for RED it's really the only way. You've got to accommodate the lowest common denominator, which is the dude who buys a yum cha SSD only to yells and scream when it doesn't work with his RED camera.

So it's all good. That post was primarily a reply to the guy I quoted. I've just got to accept the nature of SSD's and other consumers.
 
Radoslav Karapetkov said:
How about the Interchangeable? ;)
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Radoslav,

That's what Scarlet-X is... Better is almost impossible to get!

X (whether EPIC whether Scarlet versions) is 'THE' must-have camera to buy (E :-)
 
BTW, I've always thought 2/3" sensor size based camera would be a TV camera, not a digital CINEMA camera.

You don't need nothing more than that...?

Simple: crop the sensor going anything lower than 4K.

Scarlet-X is more than a TV camera, also brings a CINEMA camera incorporated.
 
Jannard said:
We are not likely to offer "Scarlet only" media. Someone owns both EPIC and Scarlet and has to remember which media will work with which camera?

Shooting a professional camera costs real money. If it doesn't make sense for you... we completely understand.

Jim
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I've been doing a lot of serious thinking about all of this for the past 24hrs......not so much money, (if the servers had been up I'd have had an order in by now :)) but the professional aspect.

I come from the S side of DSMC and have been intrigued by that concept ever since I first heard of it. For stills, although I'm not a pro, I use professional kit for ruggedness, reliability and build quality reasons and I'm lucky enough to be able to afford it. I expected to be take the same approach when it came to DSMC and RED's products but, if I'm honest, from the moment I first felt the bulk and weight (compared to stills cameras) of Epic at Pinewood I knew it wouldn't work for me. So Scarlet it would be then. At the time of course it was 'Ted's' Scarlet, so held out the promise of being a little smaller and lighter (at the expense of having a 2/3rds, 5mpx sensor).

Fast forward to November 3rd and the S35 sensor is back , but this time at the expense (for me) of using the bigger and heavier body again. So, the bottom line for me is that this time, irrespective of whether I can afford it or not, the professional option doesn't work. And that's fine. That RED took the decision a while ago that they were a company building professional products for use by pro's is good for them and very good for the professionals. Sadly, I just have to accept that as much as I wanted to jump aboard, now is not the time.
 
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fALk Gärtner said:
I definitely think this is a great idea - the ssd prices are hard to stomach :/
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The more you think about it, the rates are really not bad. Compare this to a simple CF card solution for a 128 GB compact flash. I've seen some at the higher speeds over $1100 from San disk ,etc simply for photo. When buying my iMac a SSD internal was over $800 from apple. These things aren't cheap.

Sure there are alternatives, but people , if you are actually out there shooting projects with this camera, you'll pay this shit off so fast as the camera is so cheap. Media sure while expensive it sounds completely justifiable and RED has completely explained in all these posts this is the best they can do.

Lets trust them as they seem to be in our best interest. If anyone can't afford this stuff, it is not the fault of the company making the products. I mean come on, it seems really petty to get online and ask a company to lower their pricing for media. Like they are going to be like "sure, we will cut that down for you right away" Let these guys make some money.

Jim is a billionaire. He could be doing any number of things. All his time is creating a revolutionary product for us and we would be in a whole different boat if RED wasn't around. Production is expensive, but next time you shoot with your red on a commercial production, add the RED to the mix and upcharge the client a bit each time for the effort and quality.

In my experience, if you explain things correctly to them, they will be excited to spend a few extra bucks.
 
Jarred Land said:
Correct. The mounts are smart.. as soon as you take one off ( with 4 screws ) and put another on the camera will know what it is and automatically load the appropriate lens database in a second and a half and your ready to shoot.
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Sweet !!!
 
Eston Diaz said:
I asked Graeme if the 8X fixed was smoke and mirrors to side track the competition.

He said it was completely Legit, it just didn't work out.

Honestly I think what we got is nothing less than a Blessing and clearly it is what we were meant to have.

Thank You!
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Did you honestly even think that? It would have cost millions of dollars to create lenses working electronically like shown by TED several times. This wasn't a hoax guys. Lets give RED some respect for moving a product aside instead of forcing it at us with problems. No other company would do what they have done and nixed a product like that with so much invested.
 
Eric J said:
Did you honestly even think that? It would have cost millions of dollars to create lenses working electronically like shown by TED several times. This wasn't a hoax guys. Lets give RED some respect for moving a product aside instead of forcing it at us with problems. No other company would do what they have done and nixed a product like that with so much invested.
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Except maybe HP

:P
 
Jiri Bakala said:
I work mostly in TV broadcast documentary world - which brings some issues with the current Scarlet specs:

- I need an easy to use fairly long reach zoom lens (14-18x, ideally with a doubler)
- it's nice to have a servo zoom control
- I don't have to shoot (always) at 4k, 2k would be great

Therefore:

1. Any suggestions on broadcast-style PL zoom lenses?
2. What happens if one was to use a S16mm PL lens? Crop factor? Conversion ration?

Any takers? Thanks for any suggestions.
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Can somebody help me out here please? Thanks.
 
Jiri,
You can use a 2/3" type B4 broadcast lens with a Red B4 converter if you really are used to shooting that way.
Of course that type of lens will not resolve the image area on the sensor, so you'll be limited to shooting up to 2K.

• As far as I am aware, eng-broadcast style PL zoom lenses don't exist which is why you'd have to use a Red B4 mount converter.

• There are guys out there talking about using S16mm glass. Sounds like a really viable option and quite possibly
a brilliant "old school" idea because you can purchase a variety of quality glass relatively cheap.

Some people would roll their eyes because you're not shooting 4K, but you'd still be getting the benefit of the new
MX sensor look, raw recording and film quality post production attributes.
 
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