Scarlet S35 is now...

[D Fuller]

He also makes an interesting observation about a fixed lens kit. In a consumer business model that makes sense, but where does that fit in a pro line-up? Is it an ENG model? Higher end ENG cams have interchangeable lens mounts. Would an Epic ENG not want to be a top end kit? Perhaps it is my assumption that is wrong.

You're only wrong in assuming that your idea of a "top end kit" is the same as someone in a different situation. But that's a big mistake.

If the lens is good, and its servo controls are good, there's nothing non-top-end about it! Without all the interchangeable lens mount stuff (both mechanics and electronics) the camera can be smaller and lighter. Red has a good track record with lenses recently, so I expect that it will be good, and if you look at the available B4 lenses, they are pretty honkin' big. The Fixed Scarlet looks like a pretty nicely balanced package to me. It is really easy to like a camera like that if you're dong ENG. And if it is anything like as good as I expect it will be, it'll find a lot of takers.

That doesn't mean it will be for everyone. Some people will need the long telephoto zooms that you can get in B4 mount. Some will want the increased optical clarity of primes. The interchangeable Scarlet will be for them.

 

[Alex Sutherland]

Price doesn't concern me. I just want the camera. I've been putting off the investment knowing this was just around the corner, and now the taste is more palpable than ever. Tell me where to send the check, man.

 

[Zakaree Sandberg]

Please! I did NOT say the Full Epic was a foolish buy! However, it could be if the capability of the Epic-Lite is very close to the Full Epic and the price difference is wide and if your shooting situation does not require the extras offered by the Full Epic. If..

I'll catch all the petrol bombs tossed at me for what I actually say; don't like it when I'm misquoted.

Good shooting and best regards,

Leo

i get what your saying..but stage two peeps are basically getting an epic-x for around the same price (probably) that a epic lite will come in at $19.5
so stage 2 guys save 8k and will have more features than epic lite, for around the same price.. that is why im super glad to be in stage 2

 

[JS Fendelander]

Epic X and Epic XL. ;D

I thought one of the biggest selling points for the new Red systems was the modularity. They are offerring so many different cameras, the idea being, pick the one that fits your price range. If you make money, upgrade the brain.

I still don't know which one I want. I want to hold them in my hands, know all the specs, and then make an informed decision based on my given situation.

Looking forward to that day!

 

[Mathias Erichsen]

i get what your saying..but stage two peeps are basically getting an epic-x for around the same price (probably) that a epic lite will come in at $19.5
so stage 2 guys save 8k and will have more features than epic lite, for around the same price.. that is why im super glad to be in stage 2

What?! Where do we get figures like $19.5K for Epic Lite? Sounds much to much to me... :willy_nilly:

 

[David Quinn Carder]

Some will want the increased optical clarity of primes. The interchangeable Scarlet will be for them.

I'm very curious as to the actual difference in clarity and performance between the RED zoom and a RED prime.

 

[Terry VerHaar]

Scarlet 8X Fixed is nearly done. I like it. So does everyone here.

Jim

Music to my ears! And, Amen! :emote_happyhappy:

 

[Steve Gibby]

In the hands of experienced professionals the fixed lens Scarlet will be a very potent tool - a hyper-mobile, high risk area, beneath the radar, 3k Raw/1080p/stills b-camera on big gigs and a-camera on small gigs - which can be used widely in mobile production, non-hardlined EFP TV genres such as adventure travel, action sports, nature, music, lifestyle, wildlife, food, cultures, and documentaries of various genres. It will also be used for a lot of business media and events.

In setting up a fixed lens Scarlet I'll use the internal ND filters, along with screw-on filters, batteries in the hand grip, SSD - keeping the camera small, light, and thus very mobile. For each camera I'll also add a top-quality zoom through wide converter and a top-quality 2x extender. The converter and extender greatly increase the utility of the camera.

Though me and my crews shoot a lot of high end TV productions with top-quality cameras like Red One and other cameras, there are certain productions (or portions thereof) which naturally call for mid-sized, fixed lens cameras, with features like AF, AE, etc. - which can be shot full manual, part manual, or full auto as needed. Fixed lens Scarlet will be the perfect camera for that niche. Those same productions also call for behind the scenes footage for "making of" segments, and production stills for print collateral, web site, and magazine article usage. So fixed lens Scarlet will nicely fill those niches too.

I also think dual fixed lens Scarlet on a side-by ET 3D rig will be the setup for most of the 3D production me and my crews do.

Each of my own crews Red camera kits will consist of an Epic X (because I do a lot of very mobile and high frame rate work) and also a fixed lens Scarlet.

Those who don't see the professional potential for the fixed lens Scarlet either don't work in the genres listed above, have narrow skill sets (and minds), only shoot narrative cinema and no other genres, and/or they have an elitist attitude towards anyone who may shoot with a fixed lens camera because they feel that a real "pro" would never shoot with a fixed lens camera. Somehow the phrase "horses for courses" doesn't seem to fully register with them. IMO real professionals set their egos and peer pressure aside, and consistently use the most logical, productive, and cost-effective tool for each job they do.

There are tens of thousands of professionals working worldwide in the genres I listed above shoot regularly with 35mm cameras like Red, high end detachable lens B4 2/3" cameras, and yes when appropriate with unibody fixed lens cameras. IMO the fixed lens Scarlet will become a very valuable alternative tool in the kits of that large segment of this mobile non-hardlined EFP production industry.

 

[Peter Strietmann]

EX1, EX3, RIP.

 

[Sean Lee]

Though me and my crews shoot a lot of high end TV productions with top-quality cameras like Red One and other cameras, there are certain productions (or portions thereof) which naturally call for mid-sized, fixed lens cameras, with features like AF, AE, etc. - which can be shot full manual, part manual, or full auto as needed.

I can see myself needing something like the fixed 2/3 in certain documentary circumstances as the least requirement for what I may need it for, which is why I'm 80% heading towards the fixed. But can I ask why you wouldn't also use it for your high end productions from your perspective? Larger sensor and depth of field and higher res of the Epic?

 

[Jared Caldwell]

Scarlet 8X Fixed is nearly done. I like it. So does everyone here.

Jim

Great to hear, Jim. Thanks for the update. :}

 

[Steve Gibby]

I can see myself needing something like the fixed 2/3 in certain documentary circumstances as the least requirement for what I may need it for, which is why I'm 80% heading towards the fixed. But can I ask why you wouldn't also use it for your high end productions from your perspective? Larger sensor and depth of field and higher res of the Epic?

If it was the best tool choice I wouldn't hesitate to use it for higher end productions (or portions of them) in the genres I listed in my previous post. The genres I work in, which are the ones I listed, require high mobility and rarely require hyper-shallow depth of field - thus fixed lens Scarlet should be fine for them. Also, all of the work I do is non-union, so peer pressure and other restrictions are not a factor. In the genres I listed I'll use a combination of Epic X where appropriate and fixed lens Scarlet where appropriate. The Epic X will be rolled out for higher resolution, higher frame rates, shallow DOF, aesthetic mood montages, clients who request it, etc. The fixed lens Scarlet will be used for most other applications. Footage from both cameras will intercut quite well. I see Epic and fixed lens Scarlet complimenting each other very well in a professional camera kit.

 

[Joseph Podlesnik]

Good to hear. I'm anxious to get my hands on one

Hear, hear, I'll be in line to buy one for sure! Thanks, Jim and RED team!

 

[Ketch Rossi]

As always Gibby, great points

Even so my use of the fixed 2/3 Scarlett will be much different then yours, I agreed with your toughs and opinion on it.

 

[Joseph Podlesnik]

In the hands of experienced professionals the fixed lens Scarlet will be a very potent tool - a hyper-mobile, high risk area, beneath the radar, 3k Raw/1080p/stills b-camera on big gigs and a-camera on small gigs - which can be used widely in mobile production, non-hardlined EFP TV genres such as adventure travel, action sports, nature, music, lifestyle, wildlife, food, cultures, and documentaries of various genres. It will also be used for a lot of business media and events.

In setting up a fixed lens Scarlet I'll use the internal ND filters, along with screw-on filters, batteries in the hand grip, SSD - keeping the camera small, light, and thus very mobile. For each camera I'll also add a top-quality zoom through wide converter and a top-quality 2x extender. The converter and extender greatly increase the utility of the camera.

Though me and my crews shoot a lot of high end TV productions with top-quality cameras like Red One and other cameras, there are certain productions (or portions thereof) which naturally call for mid-sized, fixed lens cameras, with features like AF, AE, etc. - which can be shot full manual, part manual, or full auto as needed. Fixed lens Scarlet will be the perfect camera for that niche. Those same productions also call for behind the scenes footage for "making of" segments, and production stills for print collateral, web site, and magazine article usage. So fixed lens Scarlet will nicely fill those niches too.

I also think dual fixed lens Scarlet on a side-by ET 3D rig will be the setup for most of the 3D production me and my crews do.

Each of my own crews Red camera kits will consist of an Epic X (because I do a lot of very mobile and high frame rate work) and also a fixed lens Scarlet.

Those who don't see the professional potential for the fixed lens Scarlet either don't work in the genres listed above, have narrow skill sets (and minds), only shoot narrative cinema and no other genres, and/or they have an elitist attitude towards anyone who may shoot with a fixed lens camera because they feel that a real "pro" would never shoot with a fixed lens camera. Somehow the phrase "horses for courses" doesn't seem to fully register with them. IMO real professionals set their egos and peer pressure aside, and consistently use the most logical, productive, and cost-effective tool for each job they do.

There are tens of thousands of professionals working worldwide in the genres I listed above shoot regularly with 35mm cameras like Red, high end detachable lens B4 2/3" cameras, and yes when appropriate with unibody fixed lens cameras. Fixed lens Scarlet will become a vary valuable alternative tool in the kits of that large segment of this mobile non-hardlined EFP production industry.

If director Pedro Costa -http://en.wikipedia.org/wiki/Pedro_Costa - could shoot his Fontainhas Trilogy in nothing but DV (or a little more), I have every confidence the RED Scarlet will be nothing less than an artist's working tool. Period.

 

[Sean Lee]

The Epic X will be rolled out for higher resolution, higher frame rates, shallow DOF, aesthetic mood montages, clients who request it, etc. The fixed lens Scarlet will be used for most other applications. Footage from both cameras will intercut quite well. I see Epic and fixed lens Scarlet complimenting each other very well in a professional camera kit.

Thanks Steve, that's why I was 80% for the Fixed and was toying with the idea of buying a S35 brain as well. But now that there's talk of the S35 becoming the Epic Light and a price increase, I may have to do with the 2/3 only.

 

[Kalani Prince]

I forgot to notice something..
if this image was shot using any DSLR camera it would suffer from severe aliasing and moire..
that's a very intelligent tease image..
the dress and couch details on the left.. wow..
can't we have a higher res version.. I think we are close to shipping.. we should start seeing hi res images..

I hope your talkin "any DSLR" in VIDEO mode..

 

[David Mullen ASC]

Those who don't see the professional potential for the fixed lens Scarlet either don't work in the genres listed above, have narrow skill sets (and minds), only shoot narrative cinema and no other genres,

The narrative cinema genre can have just as much need as any other genre for a variety of cameras of different sizes and functions -- look at "Secretariat", which used Olympus PEN cameras for some of the horse racing footage. Look at all the movies that use the Phantom for high-speed work.

Cinema since it began has always needed a large and varied toolset. Even in the pre-digital days there have been sound cameras, MOS cameras, crash cameras, high-speed cameras, cameras of different film formats, etc. It's no different today with digital and many narrative filmmakers are going to find a use for the fixed-lens Scarlet just as filmmakers of the past would have used an Eyemo or ARRI 2C, or a Super-16 camera, etc. for select shots in a 35mm feature.

There's nothing about shooting only narrative cinema that makes you think that you'll will never need a very small, highly mobile camera!

 

[Kalani Prince]

I'm still going to call mine Scarlet : ) That name rules!

 

[Cameron Dunlop]

Jim,

Call the Scarlets whatever you think makes sense. As long as you still deliver a model that is close to the 3k price tag originally envisioned. (I know it is going to have a higher price tag than than 3k, but with functionality to offset the increase.) For those of us that would love to have an Epic, but simply don't have the budget, we are holding out hope that we to will be able to purchase the revolutionary camera system at a price that us less funded professionals can afford.