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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 :)

scarlett competitors in near future

FRANKLY MY DEAR....nobody gives a damn about SCARLET......

THIS JUST IN!!!!!!!! Scarlet 4k for 499.99 if you order now!!!!
 
Brian Petrie said:
Red has stated countless time that Scarlet is trailing Epic by a few months. Jim said this is because they are related so closely and Scarlet gets most of it's architecture directly from Epic. Therefore, when Epic gets released you can be pretty certain Scarlet will follow sooner than latter because in my opinion if you can make an Epic you shouldn't have a problem making a Scarlet which is essentially a scaled down Epic. Not to mention, even after stating that they have embarrassingly blew delivery estimates, encountered a bug and talked about manufacturing problems Jim said they didn't want to bother with delivery dates yet STILL stated he thought Scarlet would be out by years end.
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http://www.red.com/press

early 2011
 
"Red has stated countless time that Scarlet is trailing Epic by a few months. Jim said this is because they are related so closely and Scarlet gets most of it's architecture directly from Epic. Therefore, when Epic gets released you can be pretty certain Scarlet will follow sooner than latter because in my opinion if you can make an Epic you shouldn't have a problem making a Scarlet which is essentially a scaled down Epic. Not to mention, even after stating that they have embarrassingly blew delivery estimates, encountered a bug and talked about manufacturing problems Jim said they didn't want to bother with delivery dates yet STILL stated he thought Scarlet would be out by years end."





I think that they saw how much attention the scarlet got, any real businessperson would do the same. Who knows might have just been a market hype machine, if so great job it worked. I was really wondering how they could bring a cam like this to the market at that price 2 years ago. On the other hand trying to pack as much as what the Epic offers into a watered down version could be very challenging (price, size, etc..), so I'm sure it's a mess of problems.

Now in Reds defense this is why companies like apple keep quiet on future products until 3 - 5 months before delivery date, well lately two days before release now. :) If this camera does happen to hit the streets anytime soon, Red will completely own this market and force other companies to pull the secret weapons out of the vault.

All of the major companies, not just Pana, Canon, Arri, etc.. all have designs that probably go for 100 years +. What they do to stay in business is offer a little and charge a lot every year or release. It's business 101 and I respect that. Since I've gotten into designing, machining, film making, the kind of R & D that goes into something like a 35mm adapter, gimbal, rail system, follow focus, all the way down to the thumb knobs takes a lot of time and money. So what ever they decide to charge is what their time was and is worth.

On the positive side, Red is opening a door that not one other company in the market would give to you at that price, and the ability to shoot raw digital film footage. Give them a break guys, it will come out and when it does all of you will change film making.
 
HDRx™ sets Scarlet apart from any competitors. No other camera, for less than $10 Grand, can match that.
 
They just dinged my CC for $500 deposit on the AF100. I wonder how many of us are doing the AF100 in the short term.
 
I don't think it's a Scarlet competitor, but a friend recently used a Canon XF305 with 5dmkII + 100mm for macro to shoot a commercial, and the result was quite really nice.
So not a competitor, but maybe an alternative and easy way to shoot how he wanted.
 
I'm in... since October, and now it's almost here... The AF100 will do things that the Scarlet's small sensors just couldn't do... (even if it were for real). I can use my Nikon lenses as well as the autofocus Lumix lenses... or any other lens I can get my hands on....it doesn't come with a lens, but they tell you up front... but it actually comes WITH a viewfinder, a fold out screen, XLR mic inputs... WITHOUT having to buy a sound module! And you can record to cards WITHOUT having to buy a data unit...

I've always loved the picture that a Panasonic produces... and the ability to tweak it makes it that much sweeter.
For me, it's a big step up from a great little camera, the DVX100 (which I'm still making money with) it's been a long time coming for an update... I can hardly wait... but it's a different kind of waiting... secure in the knowledge that Panasonic WILL actually deliver!!!
 
Dale Anthony Smith said:
I'm in... since October, and now it's almost here... The AF100 will do things that the Scarlet's small sensors just couldn't do... (even if it were for real). I can use my Nikon lenses as well as the autofocus Lumix lenses... or any other lens I can get my hands on....it doesn't come with a lens, but they tell you up front... but it actually comes WITH a viewfinder, a fold out screen, XLR mic inputs... WITHOUT having to buy a sound module! And you can record to cards WITHOUT having to buy a data unit...

I've always loved the picture that a Panasonic produces... and the ability to tweak it makes it that much sweeter.
For me, it's a big step up from a great little camera, the DVX100 (which I'm still making money with) it's been a long time coming for an update... I can hardly wait... but it's a different kind of waiting... secure in the knowledge that Panasonic WILL actually deliver!!!
Click to expand...

Scarlet will come with the CF card recorder (or they officially changed that to SSD module but I don't think so) so there you have your possibility to record to cards (unless you were talking about the Proxy Module).
If I totally understand what you're saying, as myself thing that the AF100 with a nanoflash or ki pro mini (as the 4:2:0 AVC HD format wouldn't be broadcast compatible) could make a nice choice of equipment fort small productions and low budget shorts (that want the extra shallowness), you have to pay attention on the fact that Scarlet will do 3K RAW. I know it's heavy in post and a lot of small low budget poroductions don't have the hardware to take 3K RAW files in post in real time BUT if you can wait for transcoding/conforming, the benefits of RAW formats can come pretty handy.

To me, it's more a matter of tastes and needs (3K VS 1080P) as a basic Scarlet package (Fixed or with mini primes) could be about the same price as the AF100 with lens adapters, lenses and external recorder and cards (and if you already have lenses, there are/will be some adapters for Scarlet too)
 
You are right Bastien.... but unfortunately a 3K raw camera will not exist this year... AF100 will.

Thankfully, I still have 6 months or so before I start too shoot.... but I am thankful that other options will be available, if RED do not launch in time (for me).

Sony F3 seems my likely destination... as much as I crave RED. I just don't see RED Scarlet being mass produced by June 2011, but my fingers are still crossed.
 
Jim Retar said:
You are right Bastien.... but unfortunately a 3K raw camera will not exist this year... AF100 will.

Thankfully, I still have 6 months or so before I start too shoot.... but I am thankful that other options will be available, if RED do not launch in time (for me).

Sony F3 seems my likely destination... as much as I crave RED. I just don't see RED Scarlet being mass produced by June 2011, but my fingers are still crossed.
Click to expand...

Yes, of course my post didn't take in account release dates of both cameras.
The Sony seems to have a pretty good sensor but I think, for the price range and compared with what RED has to offer (or will have to offer if you prefer), F3 is too expensive. I wouldn't say that IF it was recording 4:2:2 50-100Mb/sec or directly ProRes like the Alexa does (and it's not a matter of recording cards as they both use the same ! Just a matter of inside boards and marketing).

Anyway, all those cameras will have plenty of buyers, and plenty of work to do. My final point for that post is to say that every camera will have a purpose and the real matter is to choose the camera that suits your need or the need of the production your working on.
 
The F3 and the SRW9000 seem to be using the same sensor, and the SRW9000 is a really expensive camera. The biggest difference between the two cameras seems to be the recorder.

From this perspective, the F3 seems like a steal of a camera at $13k (B&H). The kit seems like even more of a steal at $19k (B&H). Add S-log and a nice 4:4:4 recorder and you can get near SRW-9000 quality for 1/4 of the price.
 
It does seem like a beautiful sensor, from the footage i've seen.

Epic-S is my 1st choice (and a fixed).... but I have to shoot in June and R1 is just too heavy for what I do.

Like I said, fingers crossed, but I am thankful that other s35 options are finally around.
 
Jim Retar said:
It does seem like a beautiful sensor, from the footage i've seen.

Epic-S is my 1st choice (and a fixed).... but I have to shoot in June and R1 is just too heavy for what I do.
Click to expand...

Same here. POV-porn is really difficult with Red One...
Jokes aside, I think we will see Scarlet and Epics full potential once it's out on the market.
 
Bastien Tribalat said:
.
If I totally understand what you're saying, as myself thing that the AF100 with a nanoflash or ki pro mini (as the 4:2:0 AVC HD format wouldn't be broadcast compatible)
Click to expand...
Broadcaster will broadcast any interesting to them content, regardless of the format. There are pieces shot on iPhone that aired on tv. There is no such thing as "broadcast standard", every broadcaster is unique and they have their general specs. But the content is the king and the most popular show on Discovery " The Deadliest Catch" was shot in HDV 420 for years. Thousands of pieces are shot on Sony EX1 or EX3, which is also 420 format.
 
Robert Rogoz said:
Broadcaster will broadcast any interesting to them content, regardless of the format. There are pieces shot on iPhone that aired on tv. There is no such thing as "broadcast standard", every broadcaster is unique and they have their general specs. But the content is the king and the most popular show on Discovery " The Deadliest Catch" was shot in HDV 420 for years. Thousands of pieces are shot on Sony EX1 or EX3, which is also 420 format.
Click to expand...

I know that, and I watch a lot of content on TV that might be filmed in those formats, but broadcaster like BBC or to me France Television require the signal to be at least 50Mb/sec 4:2:2 and some others like Arte (Geman/French TV Network) doesn't accept GOP formats.

But I think you're right when you say that the most important thing is the content.
 
Bastien Tribalat said:
I know that, and I watch a lot of content on TV that might be filmed in those formats, but broadcaster like BBC or to me France Television require the signal to be at least 50Mb/sec 4:2:2 and some others like Arte (Geman/French TV Network) doesn't accept GOP formats.

But I think you're right when you say that the most important thing is the content.
Click to expand...

Do you know the reason for the non acceptance of GOP content?

Is it because the content doesn't survive well after broadcast re-encode?
 
Bastien Tribalat said:
I know that, and I watch a lot of content on TV that might be filmed in those formats, but broadcaster like BBC or to me France Television require the signal to be at least 50Mb/sec 4:2:2 and some others like Arte (Geman/French TV Network) doesn't accept GOP formats.
Click to expand...
Entirely untrue statement: http://archives.arte.tv/static/c5/pdf/technische normen/2009_EN/HD_instructions_VF.pdf
even HDV or Sd up-conversions are allowed up to 25% of content. In the whole white paper doesn't specify GOP is not allowed.
 
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