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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...

Yeaaaaaaaaaaaah !!!!! Whatever it is called, I want one !!!
 
I, for one, welcome our 2/3" overlords. Even if the prices were exactly the same, I'd choose the 2/3 Fixed over the S35 any day. Not everyone has become obsessed with insanely shallow DOF over the last five years.
 
Stephen Strangways said:
I, for one, welcome our 2/3" overlords. Even if the prices were exactly the same, I'd choose the 2/3 Fixed over the S35 any day. Not everyone has become obsessed with insanely shallow DOF over the last five years.
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Stephen, I could not agree with you more. =]

I shot my first feature-length film this summer on the 7D(only thing we could afford) and I made sure that very few of my shots had shallow DOF, unless it really called for it. In fact, it was imperative to the story for deeper DOF for 70% or more of the film.
 
Stephen Strangways said:
I, for one, welcome our 2/3" overlords. Even if the prices were exactly the same, I'd choose the 2/3 Fixed over the S35 any day. Not everyone has become obsessed with insanely shallow DOF over the last five years.
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I am very partial to the 2/3" /16mm sized format for general all around production work too. The ultimate digital replacement for an S16mm film camera is exactly what I want.
 
David Rasberry said:
I am very partial to the 2/3" /16mm sized format for general all around production work too. The ultimate digital replacement for an S16mm film camera is exactly what I want.
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Hear, hear. My thoughts exactly. S16 is a great size, incredibly versatile.

As for fixed/interchangeable, well, there's advantages to both.
 
Agreed!

For some/many docs, sports and wildlife the S16 size with its focusing and magnification characteristics and ability to use high end B4, servo'd, huge zoom range glass is a very big deal.

Imagine that with RAW and a healthy downsample to 1080p deliverables!
 
Not to mention how good it is for 3D, where keeping deep focus through the image plane is very important as it yields much better depth cues than the inevitable shallow DOF that comes with an S35 sensor...
 
Now this I have been waiting to hear! Maby there is a new estimate for production soon? Hope Red will start an preorder for the Scarlet fixed before the end of this year!
 
Jannard said:
Even though the Scarlet S35 has just changed to EPIC Light... we have some big news coming regarding the Scarlet program. I am a big Scarlet fan and am excited at what we are brewing for the Scarlet program.

Everything moves fast around here... stay tuned.

Jim
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As a broad tangent...

I have gotta say one of the smartest decisions you guys have announced recently was the intention to make Red's lineup a Professional-only lineup thereby distinguishing yourself from the competition, even at the low end.

Where, for example, cameras such as the 60D are still released as a prosumer camera this drives a tremendous psycological bitch-slap to the competition.

By Red putting themselves into a new league with no compromise they have set the threshold of which others must meet before the 2 can even be compared.

That being said, I understand this is grass-roots prep for the intending releases, but for this bitch-slap to really be effective the cameras really need to exist, be in peoples hands.

Which is why I think your Epic-M program is important. Most of us will not be able to afford it, but at least Epic will be out in the world in a select few's hands and will be shooting and getting the world drooling.

For most of us it will be somewhat like reading a menu in a restaurant whilst your neighbor has his food served. We know that something will be coming our way and are willing to wait it out. Which is much more preferable to a full restaurant, everybody ordering but nobody eating... people get up and start to leave at that point.

Speaking of which, I think I need some lunch now... ((grumble))
 
Terry VerHaar said:
Stephen - my thoughts, pretty much exactly. Well said. As an aside, what Steadicam are you currently using that you will use with Scarlet?
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The Belgium FS-Pro that we use has a reinforced front fast and arm that is so fluid and easy to fly Used about $1600 to $2000. Excellent Gimbal - this rig is going to rock the Scarlet Fixed - It flys up to 22lbs and is wrench adjustable. excellent lightwegith rig for the $ and fun to fly!
 
Keep the good news coming. 2011 is going to be a very good year.
 
Auguste Andre said:
Nothing, nothing interests more than a S35 sensor. With F3 and AF100 nearby, all the rest is useless to us.
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that's because you don't work as a pro in certain types of very widespread production such as doco and ENG, where 2/3 is more useful in many cases.
 
Rob Ruffo said:
that's because you don't work as a pro in certain types of very widespread production such as doco and ENG, where 2/3 is more useful in many cases.
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For that type of production, yes. For mine and my partners as same as the actual trend, nope.
 
Auguste Andre said:
For that type of production, yes. For mine and my partners as same as the actual trend, nope.
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One of the biggest shows on television right now, The Walking Dead, is shot on the Arriflex 416 (16mm camera) with Panavision lenses. Now we all know that for our comparisons, 16mm is roughly equal to 2/3'' sensors DOF/amount of data that the Scarlets will have. Professionals shoot it all, and its almost always dictated by the needs the project has. No need to put down all of us other professionals who don't do most of their work in the 35mm/s35 realm.

Cheers,
 
I know that we don't know what size the scarlet will be yet, but all this comparison between 2/3 and S16 are very misleading. S16 has almost twice the surface are compared to Sony 2/3.

s16: Area 92.90 vs. 2/3: Area 51.69. And yes I know there is less difference if you crop s16 to 1.78.

This is a great link to different sensor sizes http://provideocoalition.com/sony/Sony_Guide_to_Sensor_Sizes_v1.0.pdf
 
Actual trend? Is that the same as status quo? Thank God RED doesn’t follow that actual trend.
 
Alex Lindblom said:
I know that we don't know what size the scarlet will be yet, but all this comparison between 2/3 and S16 are very misleading. S16 has almost twice the surface are compared to Sony 2/3.

s16: Area 92.90 vs. 2/3: Area 51.69. And yes I know there is less difference if you crop s16 to 1.78.

This is a great link to different sensor sizes http://provideocoalition.com/sony/Sony_Guide_to_Sensor_Sizes_v1.0.pdf
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2/3" Scarlet at 10.1mm wide is equal to standard 16mm camera aperture. The nominal 2/3" width of 9.6mm is close to the TV projection aperture of 16mm.
 
Yes, you are absolutely right but standard 16mm is basically a "dead format."

I can see no reason why somebody would choose to shot it over s16. If you want 4:3 you can simply extract it from the s16 frame.

And when we talk bout 2/3 at least my thoughts always goes to the Sony 900, F23 and so on, I think most people do.
 
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