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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...

I posted this before but nobody really seemed to think it was a possibility.

Obviously there's a huge rift in the expectations for Scarlet, half wanting 2/3 and half wanting S35. Jim stated in the changes for Scarlet S35 thread that it would be bumped up to the more ''professional epic chassis'' and be called the Epic-S.

Jim has stated in this thread that Scarlet is now a professional camera (bumped up to the same professional chassis? More professional in what sense?). What if the Scarlet was changed to merge with the Epic-S? Shooting 5K S35 at 24-30 fps, then able to crop to 3K 2/3 120fps. This would certainly satisfy both parties who have such differing expectations for this camera.

Obviously, the question becomes why purchase an Epic at all with such a fine line differentiating the two products? Are the higher frame rates and data rates enough to separate the two products? If an Epic-X starts at $28,000 what can be expected for the all in one Scarlet with half the capabilities? $12,000? $14,000? Will Red consider the Epic-X the rental product of their line? Knowing that all rental houses will purchase the camera with the highest capabilities while the owner-operators will throw millions of dollars towards Red in Scarlet sales?

Will be interesting to see what happens on the 3rd.
 
Dude that was uncalled for you need respect everyone's opinion and not call ppl names, if your this upset may you should take a break from reduser for a bit there are just words and opinions geesh...=):emote_hippie:
Dan Kanes said:
Troll around here much?

first you are wrong with the specs.

It will be a 1080p camera - I know because I have seen it.

Secondly, you are obviously baiting response here. Wait until Thursday, then get back to us with your speculation and Trolling behavior.

Cheeers.
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I wish people argued about their scripts or argued for their stories as much as they argue about the tool that records it.

2/3" has all kinds of benefits... I'll leave that for Steve Gibby to expound on... a 2/3" Scarlet records to the same glorious GRAEME and DEANAN REDCODE magic.

REDCODE = GAME OVER 4 years ago.

Only Arri right now uses wavelt compression (besides RED)... the BATTLE OF THE MATHLETES... is all that matters... not photosites. its all horses for courses.

right now its all about maintaining that quality throughout the post and delivery pipeline.

Ask Michael Cioni or Mike Most or Mark Peterson or or or.

RAW arguably provides the MOST flexibility... the camera is PART of the equation... at the end of the day GOOD LOOKING IMAGES
with the most flexibility in post... WIN. Until Canon records RAW anywhere near RED... well its like bringing a fucking broken mcdonalds straw with spitballs to a gatling gun fight
 
Tim Whitcomb said:
I wish people argued about their scripts or argued for their stories as much as they argue about the tool that records it.
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They do. But it's usually on writer's message boards. And as you surely know, most filmmakers tend to ignore writers.

:bored:
 
I understand the price is higher, the specs are higher then before as well, you get more, you pay more, there's nothing strange about that.
The thing I'm wondering about is if the price has doubled, three times, four times the original price. There are two cameras, Red One and Epic, already being the high end professional choice. Will Scarlet be the budget-version, the "one-man army" camera, the low budget independent choice? There's a line in the price range where it goes over to a more high end side and it becomes more reasonable to rent then buy a camera. Is Scarlet still considered a "buy-able" camera in that sense? I'm not a large company, I have limited resources that goes mostly into post production investments, for me, an Epic or Red One is not possible, that's why I'm interested in Scarlet.
 
Phil Anderson said:
They do. But it's usually on writer's message boards. And as you surely know, most filmmakers tend to ignore writers.

:bored:
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I agree with this. I sometimes roll my eyes when I hear statements about the story needing to be good, the writing tight, the acting great..
Thats all for a different forum. This is about the camera(s), and the technology employed within, and as such all discussions regarding this are legitimate.
 
Mark L. Pederson said:
Josh ... it's 1080 and it's 422.
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I accept this as true, otherwise you wouldn't have stated it.

But are those 1080p pixels any good? How is the DR?

S35+, interchangable, good DR and 1080p is still very attractive to many out there (here?).

I think it all comes down to price.

But I want artifact free RAW more than most other things.
 
Rob Ruffo said:
I hear this all the time, and it has grown tiresome. I don;t like the look of Cassavetes, and I really, really don't like the doco look. Some looks are easy to do with cheap tools, others impossible. The better your gear, the better you can do ANYTHING, not just a hippie-style doco-look and harsh naturalism with ungraded 16mm, or a close-up at f1.2 with a DSLR. A good camera also saves money. Cheap cameras are not so cheap when you consider how much it costs to light for them, and how unforgiving they are in post. In sum, good gear removes creative limitations and saves time and money on set, while avoiding potential horrible events like unusable set-ups.

This idea that it's the story that matters and nothing else always leads me to this advice: If you think that, quit film/video production and work in radio or theatre, better still, stick to writing.

Whatever gear you need, you can always rent. Buying is a cash-flow aid, that's all.
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I've been saying the same thing for years. I also find it quite ironic that people on this forum always say "it's all about the content, not about the camera." Haha, yeah, you're on the Reduser website (best camera in the world right?) and you own an Epic. It sounds condescending. I think it's more a case of certain people in this industry being afraid that if the technology becomes too readily available to the masses, the elitist hierarchy of film will fall down around them. Just a matter of time, but I'd say we're moving in the right direction :)
 
Anyone else noticed that on the store the DSMC SSD Side module says that it is incompatible with Scarlet? Am I reading too far into this?
 
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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http://vimeo.com/6770371

Nuff said
 
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