Scarlet preview...

[Mark L. Pederson]

Actually, I was thinking more in terms of using a 4K capable camera, but recording HD - and only HD - directly. Could go both ways, though. I think you'll see both approaches in television work, depending on studio requirements.

For next season - sure - but the networks and studios are waking up to "future proofing". I predict lots of dominos falling in 2012 and huge swing in 2013 towards 4K for narrative, scripted episodic television. I already know of a couple series being shot on Alexa that are being "encouraged" to switch to EPIC or F65. It's going to happen. Period. How fast, is up for discussion - but I say - faster than MOST people think.

 

[Phil Anderson]

For next season - sure - but the networks and studios are waking up to "future proofing".

Studios, yes, I can see that. But as one who works in broadcast television, I would be absolutely shocked if the airwaves are 4k, or even 2k, in 2013. It took many, many, many stations and networks a long while to get up to 1080p by 2011, and lots of broadcasts and a surprising amount of commercial spots are still shot and delivered in SD 4:3.

 

[Mark L. Pederson]

Studios, yes, I can see that. But as one who works in broadcast television, I would be absolutely shocked if the airwaves are 4k, or even 2k, in 2013.

It doesn't matter if the airwaves are 4K in 2013. It just matters that in 2012 - enough of the smart people who have control - understand and believe that it is coming. And that is already starting this year. Then the decision is made form a "future proofing" position. We can argue about this all night - fact is - it's happening. The ONLY question is ... "how fast?"

So ... if the future, however close or distant, is 4K .... why would you shoot your TV show or feature film in 1080 when the cost to shoot it in 4K is the same, and in some cases - compared to 2.8K ARRI RAW - actually cheaper and faster.

 

[James Brundige]

I don't understand why people are so pleased to see that it's going to be more expensive ... It seems that all RED USERS are rich or I'm not living in the same world ...
I may be be the only one to say that, I will probably get all the bad comments after that, but I'm pretty sad to see that price are being elevated ... pretty nice info indeed ....
Anyway let's see what's coming but I'm deeply sad to see that the SCARLET is more expensive again... I thought the dream was coming true... not this time for me
bye bye

The difference in price between what you expected Scarlet to cost and what it will actually cost will be at most a few thousand dollars. If you really want it, you can make that happen. If you are unwilling or unable to create that additional cash, get a 7D and call it good, but it's not Red's responsibility to make your dreams come true. That is entirely up to you.

 

[M Most]

For next season - sure - but the networks and studios are waking up to "future proofing". I predict lots of dominos falling in 2012 and huge swing in 2013 towards 4K for narrative, scripted episodic television. I already know of a couple series being shot on Alexa that are being "encouraged" to switch to EPIC or F65. It's going to happen. Period. How fast, is up for discussion - but I say - faster than MOST people think.

From what I see and hear, archiving is a bit more immediate than what you're calling "future proofing." Resolution doesn't seem to be the all important factor that you seem to feel it is, at least in my conversations. Future accessibility does, which primarily means no proprietary formats - and at least for the moment, that includes both Redcode and ProRes. They do seem concerned with storing assets in ways that make them available in the future, and in most of the cases I've run into, that usually means DPX or EXR files at this point, since they're both open, metadata rich, and well supported. Resolution seems to be a side conversation.

 

[Phil Anderson]

I think we're somewhat talking apples to oranges here. I don't work, and will never work, in feature films or broadcasting on a studio level, or anything that high up.

But anything local, regional, location, docs, reality, spots, etc. even a lot of nationally broadcast cable, which still takes up a great deal of what's broadcast, aren't subservient to the smart people in control you refer to.

The big fish, yes, 4k, maybe 8k someday. Us little fish, some of us are still migrating from the 480 SD pond. It's a big pond though...

 

[Mark L. Pederson]

From what I see and hear, archiving is a bit more immediate than what you're calling "future proofing." Resolution doesn't seem to be the all important factor that you seem to feel it is, at least in my conversations. Future accessibility does, which primarily means no proprietary formats - and at least for the moment, that includes both Redcode and ProRes. They do seem concerned with storing assets in ways that make them available in the future, and in most of the cases I've run into, that usually means DPX or EXR files at this point, since they're both open, metadata rich, and well supported. Resolution seems to be a side conversation.

From what I see and hear, it's certainly not a side conversation. It's not as immediate as the archiving discussions of course - but certainly not a "side conversation" - there's some real disruption coming for sure in TV land.

 

[Phil Anderson]

Again, what TV land are you talking about? CBS Studios? Comcast? Local CW affiliates? Cable Access?!

Will the local Joe sitting at home really notice the 4k image dumbed down and compressed to his picture quality on his old TV at 1080i, or even 486i so much more that everyone high up, the "power that be"are going to start insisting everything be shot on 4k, and everyone will soon enough build and buy 4k televisions to accommodate?

 

[Yannick Verry]

Those who are disappointed now would have been at some point anyways, because jumping from the easy DSLR world (or any other prosumer world), they maybe expected a ready-to-shoot package at 6K, or maybe 7-8K. There's a complete misunderstanding on the price tag, on too many points they never really considered :
- with a descent set of accessories and media the total price raise very quiclky
- they most time forget about a 20 to 30% extra cost on import duties and VAT
- they would have been crying when it later comes to buying extra lemo cables or wingnuts at 200$
- find out have they need a serious post-production and data storage solutions
- have to seriously consider a yearly budget for unexpected issues (i don't say scarlet won't be reliable... but shit happens, right ?)

I truly think a closed-tight budget like "I cannot afford more than 10000.00$" is very risky in term of potential disapointment.
That was the same for Red one... "I have 20K, i can afford it..." No...

 

[Lawrence Bansbach]

Scarlet is now a professional camera. It will be more expensive. And there will be no discounts for RED ONE owners.

That is all the bad news there is...

Red has always said Scarlet was a professional camera, and indeed Jim reiterated Red's target market about a year ago. But to repeat it here seems to be signaling that Scarlet is now even more professional. But what's more professional than a 3K camera?

If you were expecting 3K for $3K... this is bad news.

Translation: If you were expecting 3K . . .

No one will be disappointed if they ignore all previous conceived notions.

Translation: Forget everything we've told you previously about Scarlet.

I think Jim is signalling a (minimally) 4K camera. Yes, it will be more expensive, but 4K (unlike 3K) should remove any lingering doubts about the long-term professional viability of the camera and pit it directly against anything Canon might offer.

And no discounts for Red One owners who didn't exercise their trade-in options in the Red Epic stages. Scarlet is no longer a B-camera complement to Red One. In many respects it's now superior to the R1. If you want it, you may get first dibs -- but you'll have to pay full price.

Oh well, just a wild guess! I'm only having some fun -- I don't know much I believe any of it. Only a few more days.

 

[Phil Anderson]

While we're having fun then, to me it will be bad news if the camera is not 2/3". I don't want 4/3, FF35. I want 2/3". Thus, I don't want 4k either, as it doesn't resolve well with 2/3", so it will be bad news to me if it's 4k.

FF35, 4k (or 5k), meh. that's what Epic-S is for.

:emote_couch:

 

[Chuck Z]

Well... it's better to get the bad news out of the way now.

 

[Zeb B]

I just started a contest in the Scarlet forum for all us crystal ball types. Enough chatter - time to cast your votes and see who is the Master of the RED Universe

http://reduser.net/forum/showthread.php?65500-November-3rd-Contest

 

[Ruben and Sheri O.]

Is everyone on reduser rich? seems like money is no issue here if so how come u all haven't bought an epic or redone lol

You're not alone Meddy. I think a lot of us are now more than a bit confused; wondering if on November 3rd we're going to be elated, or feel like we've had the rug pulled out from under us, and angrily walk away.

100 hours to go...

 

[AndrewThomas]

Not rich, but many of us actually work and make money off our gear and so paying a premium for professional goods goes with the territory. There probably is also a "protect my investment" side to it for some.

 

[John Caballero]

Not rich, but many of us actually work and make money off our gear and so paying a premium for professional goods goes with the territory.

Actually Scarlet for the last 3 years was expected to be by many the entry level camera that would bring movie making stardom at a price everybody that wanted it could afford. I believe it was called the democratization of professional movie making by many. In a few hours we will know for sure how democratized it is going to be.

 

[Ruben and Sheri O.]

So why wait for Scarlet why not just invest in an Epic? You all seem to want the best so buy the best why wish for Scarlet to have Epic features just buy an Epic if money is no issue =)

Not rich, but many of us actually work and make money off our gear and so paying a premium for professional goods goes with the territory. There probably is also a "protect my investment" side to it for some.

 

[Ruben and Sheri O.]

Nice lol

Actually Scarlet for the last 3 years was expected to be by many the entry level camera that would bring movie making stardom at a price everybody that wanted it could afford. I believe it was called the democratization of professional movie making by many. In a few hours we will know for sure how democratized it is going to be.

 

[Zeb B]

Is everyone on reduser rich?

Cost of Technology Perspective: Look at professional tools for different trades. Let's say an auto mechanic: you think an independent mechanic that works on Porsche, Audi etc has a tool kit valued at more than $50K and a bunch of training to go with? He better or he's not working on my 911.

Maybe what Jim is stating is that if you want to work at the pro level (R3D etc) you best have a pro customer and budget. Fair enough. There are 100's of prosumer cameras that can make awesome award winning Vimeo projects for the semi-pros. Have you seen what comes out of the iPhone 4s?? Amazing on an iPad - but not what you want to throw up on an HD big screen or submit to Sun Dance.

 

[Eston Diaz]

If you live and work in a first world country its kind of hard to argue that we are not rich.

I travel and spend a lot of time in 3rd world countries, and... these people may never have what we do, but you would have to convince them their poor.

If we can work/invest and we can buy "stuff" why not a revolutionary camera?

I can only speak for myself, I love saving the cash, but... some things you can't put a price on.

Filmaking is one of the few things I feel I was meant to do, which also edifies me.