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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 Change Poll

Scarlet Change Poll

  • S35 Sensor

    Votes: 36 20.7%

  • Same as it has been just at a really good price

    Votes: 21 12.1%

  • Package deal that is wayy affordible

    Votes: 27 15.5%

  • Interchangeable with a kit lens

    Votes: 17 9.8%

  • Who cares I want one!!!

    Votes: 30 17.2%

  • 4k

    Votes: 16 9.2%

  • 4k with S35

    Votes: 27 15.5%
  • Total voters
    174
To pull measured 3.2K out of a 2/3" sensor is an amazing feat. This will be the last 2/3" I will buy, but I have an HVX200 at the moment and prefer shooting wide and at 5.6, 8.

But when I lens fast & long barreled it's not impossible to achieve a polished shallow DOF. Just requires more setup and time.

Story reigns supreme, but any RED camera is going to lend sharp professionalism. Methinks Scarlet will roar onto the scene in November in whatever incarnation it will be.
 
Carey Lee Coffey said:
What I meant was, you have use tricks to achieve a "shallow" look - lengthen the lens, be far from background etc. on a 2/3" sensor... and you still don't get the same shallowness that you would get on a large sensor. There's nothing you can do to make it look exactly the same. They are two different animals. Having said that, most people would not notice the difference.
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DOF is a property of the lens not the format. The difference is larger formats give you a wider FOV for any given setup. Same lens, same Fstop, same object distance, same DOF, same bokeh other than smaller formats blurring a bit more due to difference in COC, just different field of view. Same techniques used for large and small, just less flexibility with small formats in tight spaces. Compared to my GL2 a 2/3" Scarlet is large format. :o)
 
There's a ton of interesting looking 2/3" shot films - the ones that come to mind are Benjamin Button, Zodiac, Slumdog Millionaire (yes some of it was 35mm but 75% was SI-2K), 127 Hours, and I know I'm probably more-or-less-alone on this, but I also loved how Miami Vice and Collateral looked - flaws and all. And there are good examples in all of them of "shallow" DOF.

Now take the format of all of those films and add the beauty of the RED images, the small form factor and the massively increased resolution (3K - maybe 3.5K) for a beautiful 2K finish. I think the max FPS might change, but not drastically... 150FPS maybe (180 burst) or something.

Combined with the RED workflow (which I personally love - I hate tape) and the jaw-dropping price ball-park ($6K-$10K) and you've got yourself something amazing. If you need 4K, get a Red One or an Epic.

I'm definitely looking at this as the 16mm version of the Epic. And like we saw earlier in this thread there are some AMAZING 16mm films. All-in-all, I can't wait for the announcement, and some footage. My biggest curiosity is the quality/characteristics of the lenses (could you shoot a feature film with the Fixed and have it look as good as a Red One / Epic with PL mount lenses? Or will it look relatively less-filmic) and the mount options / timing.

There's no doubt that we're seeing some exciting times for filmmaking. I'm so happy to have witnessed this moment in time and the influence that Jim and Red has had on it!
 
Carey Lee Coffey said:
Hahaha! Touche! To use your analogy, it's the difference between "fake" 3-D created in post and "Real D" 3-D that is actually shot with two cameras. Both are 3-D, one just looks a lot better than the other.
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To be perfectly honest with you, my point was to make fun of this never-ending glorification of DOF. It's good for some things, not for others. It's overused and sometimes poorly used. It's pretty much become trite. It is difficult to keep things focused in many situations with larger sensors and many people, in not taking that into consideration, create poorly out-of-focus shots. It's neither a better technique nor worse than anything else in the toolbox. I, personally, just get sick to death about hearing of "gorgeous" DOF as if it were a secret technique of the masters and a closely guarded secret. So, get a DSLR and a good focus puller (or make sure everyone moves within a very narrow fore/aft range) and voila, your are a supercool filmmaker. *sigh*

BTW - I am not a big fan of 3D, either. :laugh:
 
Terry VerHaar said:
To be perfectly honest with you, my point was to make fun of this never-ending glorification of DOF. It's good for some things, not for others. It's overused and sometimes poorly used. It's pretty much become trite. It is difficult to keep things focused in many situations with larger sensors and many people, in not taking that into consideration, create poorly out-of-focus shots. It's neither a better technique nor worse than anything else in the toolbox. I, personally, just get sick to death about hearing of "gorgeous" DOF as if it were a secret technique of the masters and a closely guarded secret. So, get a DSLR and a good focus puller (or make sure everyone moves within a very narrow fore/aft range) and voila, your are a supercool filmmaker. *sigh*

BTW - I am not a big fan of 3D, either. :laugh:
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Fully agree.
But then again I'm also no fan of DOF (must admit on rare shots it does add to the film, but mostly it's just overused) and I seriously hate DOF in 3D, that kills the whole "more" realistic 3D feel.
 
Can't wait to see the final specs but if anything the price is going to increased and they hinted to that pretty clearly, but the features we'll be gaining seems to have increased as well. For one, it doesn't matter what the specs of price is. As soon as orders open up, our order is as good as placed; though the #1 most desires change would be an S35 senor followed by interchangable lens. I have some Ziess glass I would love to throw onto a Scarlett. Personally I think the final price is going to be $7k-$8k which still makes it an incredible deal.
 
OMG - I agree with your Terry. Never thought I'd agree with the Dog. But I will say, for those who have to pay for out of focus shots in 35mm film at night at 250 ASA which is about 4 inches DOF, I'd rather have 8 inches and grain at 500 ASA when shooting steadycam with actors missing their marks... I over ruled my DP who wanted to shoot 250 ASA so I could get another 2+- inches at 500 ASA... back in the old film days... at $1 a foot or $1 a second... or $100+ per take or more... ya, LOL, shallow DOF rocks when you are out of focus in 4-6 inches of it at night with actresses that can't hit their mark at 4am. I hated seeing movies with actors leaning in and out of their DOP of 4 inches... where was the AC?! Unless you have a pro AC at $400 a day and can pull focus with his eye of improve actors missing their marks, you should learn to love DOF of the Scarlet, it will save you lots of time and money.
 
Anthony Dod Mantle is a really great cinematographer and a equally nice, sweet and generous person :) he was a consultant on one of my short films (link in signature for anyone interested) and contributed far more than any of us expected.

His work on '28 days later' still amazes me - as do his other brilliant work!! If he ever were to do so, I have a feeling that he would really put the Scarlet to the test and end up with some amazing and great stuff :)
 
There seems to be a lot of talk as to what HAS been shot on these formats, but not much talk on what WILL be shot on these formats. I'm just as much a gear head as anyone else, but we are filmmakers here, right?

They're just tools...I'm just excited they're really good tools. Just don't forget this little thing called "filmmaking". :}
 
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