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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...

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NickCatal said:
So this camera, which is already years late, is another $1k? For a feature most users of a low-end camera don't NEED?

You've moved the cost of the camera out of reach of most of the low-budget filmmakers who are going to the 7D w/Zoom while most of the posts here are all about the Epic.

I thought the entire idea of the RED was the low entry cost. Evidently the idea of a lower-entry-cost camera is out the window now.

No thanks
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Go buy a Canon or Sony. Don't come into Reds home and bitch. I don't go on any Canon blogs bitching about aliasing and moire. Also, funny you mention low end users and HDR, since even apple has implemented it for non filmakers to use on their iPhone.

I'm so sorry Jim has to put up with these... People...

Jono
 
I'm surprised at how many people continue to hold to the 3K for 3K marketing that was made...when? Two and a half years ago? Before the lineup was reworked to include the "2/3 Cinema" and the S35 models. Before all of the ASICs and all of the additional capability...

I wonder. Perhaps there should be a little bit of official dialogue letting people know where RED stands on the 3K for 3K thing. Is it off the table altogether at this point? Is it on the roadmap, but just in stasis?

It's understandable, certainly, to focus on getting absolutely kick-ass cameras out if, for nothing else, than to claim the space and have the bragging rights. But I wonder...will RED shoot for FF35, 645, and 617 after the releases of Epic and Scarlet? Or will they make Rouge, a pared down Scarlet that shoots 3K without all the "extras" that folks with lower budgets would love to have.
 
Michael Olsen said:
I'm surprised at how many people continue to hold to the 3K for 3K marketing that was made...when? Two and a half years ago? Before the lineup was reworked to include the "2/3 Cinema" and the S35 models. Before all of the ASICs and all of the additional capability...

I wonder. Perhaps there should be a little bit of official dialogue letting people know where RED stands on the 3K for 3K thing. Is it off the table altogether at this point? Is it on the roadmap, but just in stasis?

It's understandable, certainly, to focus on getting absolutely kick-ass cameras out if, for nothing else, than to claim the space and have the bragging rights. But I wonder...will RED shoot for FF35, 645, and 617 after the releases of Epic and Scarlet? Or will they make Rouge, a pared down Scarlet that shoots 3K without all the "extras" that folks with lower budgets would love to have.
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The answer to your question may be found in the fact that Oakley never went for the $29.95 mass market pair of sunglasses. Not every business wants to go there. What do you think?
 
We have made the mistake... or not, of talking to our customers as we have gone along. Things change... especially since we have an open dialog with our customers. Technology advances and opportunities arise. We have said clearly that "everything is subject to change".

As we add more capability to our program, prices have risen. At the same time, we have added many features at no extra cost. Go figure.

This is like 3 dimensional chess in an earthquake. Hang on and put your helmet on. You are in for the RED Ride of your life.

Jim
 
Michael Olsen said:
I'm surprised at how many people continue to hold to the 3K for 3K marketing that was made...when? Two and a half years ago? Before the lineup was reworked to include the "2/3 Cinema" and the S35 models. Before all of the ASICs and all of the additional capability...

I wonder. Perhaps there should be a little bit of official dialogue letting people know where RED stands on the 3K for 3K thing. Is it off the table altogether at this point? Is it on the roadmap, but just in stasis?

It's understandable, certainly, to focus on getting absolutely kick-ass cameras out if, for nothing else, than to claim the space and have the bragging rights. But I wonder...will RED shoot for FF35, 645, and 617 after the releases of Epic and Scarlet? Or will they make Rouge, a pared down Scarlet that shoots 3K without all the "extras" that folks with lower budgets would love to have.
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I would love to see a scarlet with the orginal specs and price be released simultaneosly with the current scarlet, then see how many of the older version sell. I think very few would go for the 3k and many would save a little extra $ for ALL the extra features.

I mean cmon guys... YOUR'VE HAD 2 YEARS TO SAVE THE EXTRA 2K!!!!
 
Scott Brown said:
Mark, what rental business? It'll nose dive with the advent of Scarlet!

Scott
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I disagree. I'll hopefully be shooting more projects once I get my scarlet and when I am shooting I'll be renting Epics when my Scarlet is insufficient.

When you're on a commercial project you don't just bring the 3 lenses you plan on shooting with-- you rent the set in case the director asks for a different lens. Similarly you won't just be bringing a scarlet to a shoot in case the need arises for an Epic feature. The incremental cost on rentals won't be worth risking a trip back to the rental house and stopping production because you rented the Scarlet instead of the Epic.

Scarlet owners also get a discount on all Epic Rentals. If you're a Scarlet owner you'll already have media and all the IO modules making an Epic Brain rental more affordable.
 
Terry VerHaar said:
The answer to your question may be found in the fact that Oakley never went for the $29.95 mass market pair of sunglasses. Not every business wants to go there. What do you think?
Click to expand...

Well, I've been consistently happy as I've seen Scarlet grow away from the 3K for 3K model and into the product it is spec'd as today. Personally, I'm happy to pay a little extra to have something which is really a fantastic camera with relatively few compromises.

Having an open dialog on this forum is, I think, crucial. It wouldn't be Scarlet or Epic without it. And having and evolutionary product development is, as well, a relatively unique benefit to the RED program. I'm more than happy to be along for the ride - what I have to shoot on now works well enough, and I can always rent an M-X if I really need the capability.

I just get the feeling that a lot of people got the idea that RED was producing a "budget-friendly" or "entry-level" camera for "indie filmmakers" (which, when used in this specific context should probably be more accurately written as low/no budget filmmakers) and "soccer moms". And for whatever reason, despite all the announcements and changes and alteration, that conception has stuck until just now.

Clearly, Scarlet is no longer the People's Camera, but a professional tool that may be relatively expensive in terms of cost when compared to entry level cameras, but is comparably an unbelievable offer in terms of capability even when compared to the latest digital cinema cameras from rival companies.

5K.
REDCODE.
HDRx.

It's a perfect storm of awesome. Now I just want to buy one. :beer:
 
We thought we might get into the "volume" business... but we realized we cater to professionals.

Jim
 
Jannard said:
We have made the mistake... or not, of talking to our customers as we have gone along. Things change... especially since we have an open dialog with our customers. Technology advances and opportunities arise. We have said clearly that "everything is subject to change".

As we add more capability to our program, prices have risen. At the same time, we have added many features at no extra cost. Go figure.

This is like 3 dimensional chess in an earthquake. Hang on and put your helmet on. You are in for the RED Ride of your life.

Jim
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You sound a little sad in this post... like you are frustrated that what seems like many people, don't have your vision. There is a "Silent Majority" out here that gets it. Keeping my helmet close at hand, waiting for the tremors.
 
Jannard said:
We thought we might get into the "volume" business... but we realized we cater to professionals.

Jim
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I like the sound of that, plenty of other companies out there to cater to the "volume" market.

Back to paying the bills (and saving up for scarlet).

Have a good one, you guys deserve it.
 
Jannard said:
We thought we might get into the "volume" business... but we realized we cater to professionals.

Jim
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I think this should clear a lot up for people.

Once again, happy to be along for the ride. Happy to be able to discuss things here like this. And happy that someone out there is crazy enough to pull something like this off.
 
Kaku Ito said:
Hey J,

I think the amount of time you spend here and learning others' sharing information, you should be able to start making more money, if you set yourself to that position. Three years ago, without RED ONE (I don't even own RED ONE still), I was providing FCP based system integration and some knowledge in handling 24p materials with the help of others from DVinfo.net, I experienced the first ever feature film job to provide HD editing system consulting. Then invested myself (I just paid up my loan this month!) to buy HPX555 so I can involve in actual production a lot more. I was just a videographer with FCP system shooting mountainbikes and music performance up to that point.

Then Frederic Lumiere informed me and got me involved on RED things and found out that there could be a dream land. I believed it and kept up with everything I could do, cherish more on my FCP based system then RED ONE came to Japan, I immediately started to provide RED post production workflow for TVCM shoot, music clips and there came the feature film jobs.

So, three years ago, I wasn't even in the cinema business. Now I'm involved in more than few feature films annually.

So, once you get your Scarlet $1000 more than you thought, start using it and appreciate the better features, you would change your mind about the $1000 difference, I'm sure. I know you can adopt it, I know.
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Thanks Kaku, I felt warmth and encouragement reading your words. I do take shooting gigs occaisionally. Not two weeks ago I shot my first 15 sec & 30 sec broadcast spot – motorbikes (link), but for the most part I just design sites, and code as3 for ad agencies. As you know from my earlier post, I have family responsibilities so I can't step down in pay just to restart a career even if I want to. If I end up getting more ad gigs that match the pay of interactive then I may just end up as a DP, but this is not my intention.
I'll just go where the money is, try to keep my technology lust in balance and concentrate on writing, directing and producing my scripts.
 
J Davis said:
Thanks Kaku, I felt warmth and encouragement reading your words. I do take shooting gigs occaisionally. Not two weeks ago I shot my first 15 sec & 30 sec broadcast spot – motorbikes (link), but for the most part I just design sites, and code as3 for ad agencies. As you know from my earlier post, I have family responsibilities so I can't step down in pay just to restart a career even if I want to. If I end up getting more ad gigs that match the pay of interactive then I may just end up as a DP, but this is not my intention.
I'll just go where the money is, try to keep my technology lust in balance and concentrate on writing, directing and producing my scripts.
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See, I know you would get the message. If you once put yourself in the RED ONE related jobs, you know you can afford the 1k difference. We are even taking the grading job away from full scale post production companies with our properly setup but not crazily expensive setup because we understand the RED features and characteristics more. Get yourself with RED ONE job as much as possible. Start relating yourself more. Even for me, I've done numerous RED ONE jobs, I don't own one. Ofcourse I would own my own Scarlet, that is why I sold my HPX555 a year ago no matter if it is 1K more expensive. That makes me happy because guys with EOS won't get RAW movies nor HDR movies.
 
Im up for the 1000$, had the time to save. I want a pro camera and if I end up spending 10000$ instead of 9000$, now its not the problem.

I love the idea of my fixed scarlet with HDRx™ and would love it more still if it was in my hands soon.

How about that Red team? Those ready to pay and preorders.

Salut!
 
J,

You list NYC as your location. Somewhere in these threads, it was suggested that people form small coops or find a couple of like-minded individuals to split up the cost 3 or 4 ways. Have you considered looking at that since you say you don't shoot every day? If you split with others, you might be able to get other gear (like a portable RedRocket) and make the cost easier on yourself. Just 1 partner could help.

Good luck.
 
Danny Lingan said:
J,

You list NYC as your location. Somewhere in these threads, it was suggested that people form small coops or find a couple of like-minded individuals to split up the cost 3 or 4 ways. Have you considered looking at that since you says you don't shoot every day? If you split with others, you might be able to get other gear (like a portable RedRocket) and make the cost easier on yourself. Just 1 partner could help.

Good luck.
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Good idea.
 
I would still like to know if the HDRx will increase the frame rates for the the S35 when not shooting HDRx?
 
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