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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's Currrent Lens Opportunities...

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I believe there was a video posted some time ago where a Red Pro Prime was used on a Scarlet.
 
hey is C-Scarlet and F-Scarlet something that Joseph made up? Or is this going to be an official red naming thing? The fact that this is a sticky sort of lends weight to a RED endorsed naming convention.

Clarification would be good, if it is not RED endorsed then there are already too many names floating about adding to the confusion.
 
that's how they're being referred to as of now. that could change.

in the meantime, scarlet interchangeable/scarlet cinema and scarlet fixed/scarlet 8x (and of course anything with 2/3" in it...) are all appropriate names as well to discuss them with.


Stephen Gentle said:
The lens mounts should be the same on Scarlet Cinema and the Epic line. It's all the DSMC system.
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1259652458.jpg

"mini PL" mount (right)

3-13-11-red-epic-m-2.jpg

PL mount

not the same mounts...

to give you a better sense of scale, a miniPrime could slide right inside of that epic, with room to spare. (don't try it at home) it's not hard at all to imagine what you would get with a 35mm lens on the 2/3" scarlet.

previously mentioned was the standard miniPL for the miniPrimes, a mount for C and B4, (and maybe PL?). the 2/3" model is geared towards 16mm glass (and maybe some super 16), but not 35mm... so not sure if a canon/nikon mount will happen for the scarlet (unless 3rd parties jump in). at about 2.5 crop factor, don't know if there will be enough demand for that to have a decent working mount that's reasonably priced.

1chartx.jpg

old chart, but you get the basic size comparison all the same.
 
Digi primes are 3chip lenses you'll need optical compensation to correct the color dispersion otherwise there will be major color fringing
 
OptiTek said:
Digi primes are 3chip lenses you'll need optical compensation to correct the color dispersion otherwise there will be major color fringing
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I can't say anything in this case except that SI-2K has 2/3" 16:9 high-dynamic range CMOS Imaging sensor with 5um pitch.

SI-2Kmini_productpage.jpg


How about that case???

Probably a special B4 adaptor...???

LINK>>>
 
Will I be able to mount M42 lenses to the C-Scarlet? If yes, with what adapter? Or mount?
 
I've seen much worse incompetence than putting 3 chip lenses on single chip camera-doesn't surprise me....
FYI compensating optical flat costs around $3000
 
J Davis said:
2/3 cinema with 100mm red pro prime

http://reduser.net/forum/showthread.php?26869-IzzY-2-3rds-Scarlet-with-100mm-RED-PRO-PRIME&
Click to expand...

That is in march 09 though...Scarlet has completely been redesigned since then right? I dunno, looking at that chart that Paul posted, a PL lens or a canon lens on a scarlet cinema would only have the benefit of filming wild life from afar. lol.

For me, I would just love to know the final specs on the scarlet. DR, the burst speeds and duration, compression ratios, and price!

I cant help but look at http://www.red.com/products every morning waiting for that coming soon to become "Details" ...someday! :D :D
 
Solomon Nero said:
That is in march 09 though...Scarlet has completely been redesigned since then right? I dunno, looking at that chart that Paul posted, a PL lens or a canon lens on a scarlet cinema would only have the benefit of filming wild life from afar. lol.

:D
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Most modern Super 16mm glass is PL mount. Older 16mm Arri standard and B-mount lenses adapt to PL very easily. I also have PL adapters for my C-mount lenses too. PL is a very versatile proven mount for cine glass of all types, so is as essential for Scarlet Cinema as for Epic.
No the basic physical design has not changed much since '09, just the electronics. More beef. HDRx, and Redcode 100 maximum data rates instead of Redcode 42. Who knows what else.
 
David Rasberry said:
Most modern Super 16mm glass is PL mount. Older 16mm Arri standard and B-mount lenses adapt to PL very easily. I also have PL adapters for my C-mount lenses too. PL is a very versatile proven mount for cine glass of all types, so is as essential for Scarlet Cinema as for Epic.
No the basic physical design has not changed much since '09, just the electronics. More beef. HDRx, and Redcode 100 maximum data rates instead of Redcode 42. Who knows what else.
Click to expand...

sweet! Well i guess its just right back to the waiting game then :)
 
thanks for this thread Joseph. The whole scarlet line has been somewhat in a cloud of confusion. Least it has for me. The moving of the S35 Scarlet to the Epic-S just made sense. I'm glad the guys at Red did it. Avoids any confusion now.

As for lenses I know there has been a C mount to M mount. I wonder if it works the other way? Definitely a fan of Leica lenses on red. Though those mini primes look awesome.
How about some m42 lenses on the scarlet? That'd be fun.
 
Do we know something about a package for C-Scarlet like F-Scarlet has ? (or is it today still due to be "body only" ?)
 
I'll repeat again that the best lens option is for Scarlet to get IMS and then with that universal mount to allow anybody to attach what ever lens user have and he/she can afford or want.

Just very simple, effective and fast.
 
If Scarlet is the same as Epic the IMS mount won't work I think- there is not enough room....
 
Jarred confirmed that the Scarlet will have a Canon mount for the L series lenses . One for Nikon too. He said the price will be between 500 to 2000$ it's not final yet. that's great. with that equipment now Scarlet can be a real contender for everyone to get one
 
I don't know which is better. The fixed lens would be cost effective in a way, but you give up the versatility between lenses. And more glass with the fixed lens could mean less light.
 
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