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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 preview...

jnavickas said:
It will be interesting to see who's willing to spend more than $6,000 on a camera with one and only one lens...Not many professionals, I think.
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I think you be surprised!
 
sergio arguello said:
steve.

point 1 - was that Dp's are not yearning to shoot 1080p
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Most DP's working in television that I know don't particularly care. As Steve said, they judge by what they see. The camera choice is not dictated in many, many cases, and they do have a choice (the only choice they don't have these days is film). Some choose to use Red. Some choose Alexa. Some choose F35. Some choose Panasonic. All have their reasons.

and my comment was that mike comment seemed to me slanted towards the Arri/red thing
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One can't seem to say anything good about any non-Red product here without getting this reaction eventually. Usually immediately. And I didn't really even say anything good about Arri. I just pointed out that they have been very successful in the television market this season - something no other company, including Sony, can claim. And I pointed out that those who like what those cameras provide are not likely to be swayed by FUD, especially when they like what they are already getting. They might, however, be swayed by logical, sensible discourse, and a positive message. That's what my post was supposed to be about. I have always been a supporter of Red, its products, and its development. Jim knows that about me quite well. That doesn't mean I can't also have an appreciation of other things. especially things I deal with every working day as a colorist and as someone involved in developing work flows, although around here, that seems to be frowned upon.

Alexa does look good but im sure if you let a dp have a codex atop of the camera no DP is going to say "get that thing off the camera"
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Actually, I know a few who did, with the knowledge that ArriRAW is not really necessary or appropriate for television production (in part because of the amount of data generated and in part because the ProRes 444 approach works quite well), and that ergonomics matter when you're trying to make a hectic production day.
 
I'm pretty freaking excited either way, if the 2/3rd 3k body ends up being more than 12-13k then I'll be a bit disappointing because I would not be able to afford it and the all accessories atm.
But I'd get over it quick and continue saving.

RED is doing amazing things so please keep it up, I look forward to the announcement!
 
Mr. Most, even though I'm not always a fan of how you say things, I really appreciate that you share your real-world industry knowledge with us here. It is also refreshing to see more people like you and Mr. Mullen that believe in "the right tool for the right job" over anything else.
 
Mark L. Pederson said:
If "that list" is based on Alexa's popularity in episodic television ... sure ... but I'd emphasis "right now" and that is a fleeting moment in time.

By then end of 2013 the majority of narrative, scripted episodic TV will be shot in 4K.
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We'll see. I would agree it will be shot on cameras that capture 4K. Whether it will be recorded that way, well, I'm not so sure, especially if those cameras allow a choice.

One thing I do agree with is that the current Alexa configuration, including ProRes recording, could very easily wind up being a one season phenomenon. In fact, I think it's likely. But it's not necessarily solely because of resolution issues.....
 
M Most said:
We'll see. I would agree it will be shot on cameras that capture 4K. Whether it will be recorded that way, well, I'm not so sure, especially if those cameras allow a choice.

One thing I do agree with is that the current Alexa configuration, including ProRes recording, could very easily wind up being a one season phenomenon. In fact, I think it's likely. But it's not necessarily solely because of resolution issues.....
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Won't Prores die out now given Apple's approach with FCP in the pro world? I know I'm ditching FCP (already got me a copy of Avid MC). Why is prores the god of all codecs? Does it really need to be? What if a competing codec becomes the standard in the pro world for any number of reasons? I could care less about what exists today. I think its safe to say things are changing and we are nowhere close to reaching a plateau yet.
 
I think Mike is alluding to the F65.

Post has always been pretty comfortable with what Sony provide because their hardware may cost more but it lasts and returns on investment.

Sony are aware of the need to be workflow friendly precisely because of people like Mark.

If M Most says x/y/z will streamline a process, save time, look as good and in the process save you money then people who are wise listen.
 
You want some cheese with that whine? There's healthy sarcasm, then there's preemptive whining. This is the latter. You aren't owed anything! RED is a business, that offers a product, at a premium.
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You are really, really, really funny, really. I've been doing my gig for a very long time and one thing I learned decades ago is not to whine . If I really want a camera I start a project and by the end of it I will have the money for the new toy. That's a no brainer. I actually think that making the Scarlet an exclusive pro item is very good. Price it as high as possible so the wannabes will be out of the picture. Make it expensive so only the elite pro can use it. Keep the struggling students out, as well as amateurs, who needs them anyway. Let them keep using the cheap DSLRs 'cause they are meant for non-pros. They are only 1080p! And we pros all know 1080p is absolute crap! I actually vote to ban it as soon as possible. I am sure the majority in this forum will agree with me that money is no problem for them. No matter how many thousandsof $ they have to spend they will have it at the ready because EVERYBODY in this forum is a working, money making professional in the business. And that is all we want: the pros.
 
Ivan McCullough said:
If M Most says x/y/z will streamline a process, save time, look as good and in the process save you money then people who are wise listen.
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Its not wise if M Most is trying to fit things into an *existing* process, and one is invested in overturning that (presumably expensive) process and innovate to a new, lower cost place. And unlike Apple with FCP X, one is actually delivering MORE value for LESS cost with future-proofing built in. That last point is probably the most important in a world filled with change.
 
John Caballero said:
You are really, really, really funny, really. I've been doing my gig for a very long time and one thing I learned decades ago is not to whine . If I really want a camera I start a project and by the end of it I will have the money for the new toy. That's a no brainer. I actually think that making the Scarlet an exclusive pro item is very good. Price it as high as possible so the wannabes will be out of the picture. Make it expensive so only the elite pro can use it. Keep the struggling students out, as well as amateurs, who needs them anyway. Let them keep using the cheap DSLRs 'cause they are meant for non-pros. They are only 1080p! And we pros all know 1080p is absolute crap! I actually vote to ban it as soon as possible. I am sure the majority in this forum will agree with me that money is no problem for them. No matter how many thousandsof $ they have to spend they will have it at the ready because EVERYBODY in this forum is a working, money making professional in the business. And that is all we want: the pros.
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This is all getting a little heated, silly and unpleasant.
 
Why does this month have 31 days ?
 
Luc Bouvrette said:
There's a shitload of videos out there where Ted has been repeating the "6,000$, give or take", "6,000$, give or take", "6,000$, give or take" price range at various trade shows and presentations. Some redusers (whose work I really like, such as Ketch) have even had the chance to fiddle around with what seemed like several pretty functional Scarlets.

Now I don't know where in the mill the 3k for 3k rumour started, but it's pretty ludicrous imho. Yet, like all unreasonable rumours (that Apple fanbois are especially accustomed to) this one has spread like herpes simplex on a porn set.

So I understand Jim's exasperation when he writes:






That being said, it seems with this thread that the speculation pendulum (dare I call it the Red speculum?) has swung total opposite with 10k+ numbers floating about.

Unless there have been MASSIVE changes to the Scarlet since Ted's presentations, I'd personally be very surprised if the price range got anywhere above 30% Ted's 6k mark. That means 7800.00, not 12k.

Then again, we'll all know on 11/03.
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your either 13 or really high dude. thats the price point it was announced at in 08
 
Nikhil Kamkolkar said:
Its not wise if M Most is trying to fit things into an *existing* process,
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not implied in what I was saying but I have been aware since we moved from "master" format digi shooting (ie tapes) to "etheral" (ie data), at some point we will move to a new archive standard. One which will provide a level of safety as good as or higher than Tape. Sony are aware of this as that is a market they practically owned and for the last few years have seen it shrink. i expect them to want it back and like any smart thinking company whatever they offer will have benefits when used with their own products/codecs.
 
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