Welcome to our community

Be a part of something great, join today!

Log in
  • 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 :)

Stop Sulking

AMEN on every point.

i cannot wait to see the development of this product.

i think its sort of a case of... people wanting (i was going to say red one but yea...) EPIC money for peanuts.

this is something to be expected from the genuine openly receptive way that the Red people seem to do things. people voicing opinions on things are essentially helping Red with ideas and potential customer "wants" i think this is amazing. remember the products we have seen today are not strictly finals. things can change. i personally think the scarlet is unbelievable if the predicted price range is reasonably accurate.

this is an industry changing product. if you won't buy the camera then at least appreciate the fact that it will make whatever you choose over it (whatever the rivals can shake together and sell at a loss purely to retain market numbers) will have been influenced by what we have seen today.

my first post but i have been reading closely for MONTHS. i have learned a lot from you guys.
 
I'll stop sulking when Jim announces that I can attach a cinema inter-changeable lens to the Scarlet body. And I'll be able to start making films and setting out for NYC that much sooner. As for the Red One, I'd be saving up for a year and a half with 3 jobs due to child support and living expenses. The Scarlet and a Cine-lens would only take me half a year to come up with. Wouldn't you be happy if you could use your Red One lenses with the Scarlet? If I was looking for a cheap fix, I'd go with the HVX200, but I know what I want to do with my life and it is film. Say I was content with my prior 12 years in the AV industry as a tech and a stagehand, the Japanese models would be fine and will still be fine for most documentaries, weddings and political seminars. But RED is to replace this limiting market that actually ends up handicapping "could be David Lynch's out there." I believe RED can revolutionize the caste system which separates the haves and the have-nots, and socialize quality film making once and for all.
 
Yeah but if they did add a mount, then the price would only go up. The more you want added to scarlet, the more expensive it will become, theres no question about it. If you really need interchangeable 35mm cine lenses, then you could RENT a Red One, if money is the issue.
 
I agree 2/3 chip is fine you need that for eng and run and gun. I just hoped that you could take of the measly 8x lens and put on different glass. Or a RED 35mm adaptor or a letus, for us folks who want DOF. Or at least make the lens fully manual, but not having intercangability limits it's uses.

I have a dream of making an HD/SDI multicam flypack based around the scralets cams. Image I could have about 8 cameras shooting a concert on 3K. That would look top notch and cost next to nothing. But I would need long lens for the close ups cams, and wide andle for the handhelds.
 
I have to chime in here as well. I can't believe the amount of whining that's going on right now. I kinda predicted this way back when the hype started. Without any sort of info people begin to have unrealistic expectations as to what a product will be. For evidence of this, hang out on a Mac forum for a bit just before Mac World. Rampant speculation! Then what happens upon product release? Disappointment. If I have any criticism of Red at this point (and it's a very small critcism) it is that there should have been a bit more transparency Re: Scarlet. I remember posting early on requesting a bit more info so that people would have more realistic expectations. But alas it did not happen and now there are many people out there that are disappointed. So be it.

I believe this camera is as much of a revolution as the Red One was. Price vs performance NOTHING touches it. Nothing. No other camera in its class has RAW output, 120 fps, 3K res, 2/3rds size sensor. Not even close. Even cameras costing twice as much. Yet somehow its a "disappointment". I do not agree. I think this camera is a gift to the low-budget and student filmmakers out there. And for that I say to Jim and the Red team, thank you so very much....

....Now where do I reserve mine? :biggrin:
 
supergrafx said:
I'll stop sulking when Jim announces that I can attach a cinema inter-changeable lens to the Scarlet body. And I'll be able to start making films and setting out for NYC that much sooner. As for the Red One, I'd be saving up for a year and a half with 3 jobs due to child support and living expenses. The Scarlet and a Cine-lens would only take me half a year to come up with. Wouldn't you be happy if you could use your Red One lenses with the Scarlet? If I was looking for a cheap fix, I'd go with the HVX200, but I know what I want to do with my life and it is film. Say I was content with my prior 12 years in the AV industry as a tech and a stagehand, the Japanese models would be fine and will still be fine for most documentaries, weddings and political seminars. But RED is to replace this limiting market that actually ends up handicapping "could be David Lynch's out there." I believe RED can revolutionize the caste system which separates the haves and the have-nots, and socialize quality film making once and for all.
Click to expand...

That's interesting that you mention David Lynch, who eschewed film and shot his last movie on VIDEO, on purpose. It's not about what camera you have. You can tell a moving story with anything, if the story is worth telling.

I can't wait to get my hands on this camera. Sure we would look bad ass with a red one, but do you need it? Do you have the crew to utilize it? I will be able to do tons of filming on the sly with Scarlet that Icould never get away with something as big as a One. I'm pumped. Thank you Jim and co.
 
No thanks, I will keep sulking

No thanks, I will keep sulking

2/3" is just not going to cut it for an artistic movie. I for one don't care about making commercial to promote crap that nobody needs.

Anyway, it is a great value proposition and will probably sell quite well. However, I doubt that any great movies will be made on it (at least that I would call great). Might be good to learn some things on.

Should be a fabulous camera for documentaries and news gathering. Maybe that is the professional market that Red is going for. However, there I would prefer longer record times. . . we will see what Scarlet delivers. Anyway, I think that the existing choices in the prosumer range provide enough to create a power documentary or news footage, and most importantly that ship today.

I would have loved to see S16 here.

2.8 is not that competitive. The HV20 has 1.9.

Also I am surprised that Red announced it now, giving Sony a full year to compete with it. I suspect that most would pay a premium for an equivalent camera from a long established company that is not so ever-changing and volatile.

Given the fact that it is not even coming out until 2009, I think that everybody on Reduser who is honest with himself will choose to sulk for at least a little while.
 
I don't understand why some of you guys are content with the fixed lens. Obviously, the knowledge of Red, has guided you to enlightenment that you need much more than what the contemporary pro-sumer offers when it comes to film. Shelling out $5,000 for a Red lens is nothing if your serious about making movies. Isn't the HPX500 like $11,500? The Scarlet with interchangeability will still cost far less than this, will be far superior as it shoots in 3k, ect..., ect... I think there are a lot of cheap guys on here that want quality for nothing by going for the fixed lens. How are you going to get skilled at interesting and artistic shot composing using a prosumer fixed toy lens? The Scarlet has awesome specs. It's as though some of you want this Olympic champion to be blinded. The lens is by far the most important component of a camera. It's the brain's/camera body's perception and sight in comparison to the elements that surround it. With an inter-changeable lens, you will learn the craft as opposed to being a pundant with an XL2, hdv, or other piece of trash, that only attempts to make a "film look," yet doesn't make the mark. I don't wish to downsize myself or my talents. Jim will come through, even for the economically hardened peeps like myself. P.S., to the comment about why not renting a Red One: maybe due to them being 600-900 dollars a day...? If I could own a Red One, I would never rent it out. It is like an artist's brush. You must take good care of your tools.
 
jwheeler said:
That's interesting that you mention David Lynch, who eschewed film and shot his last movie on VIDEO, on purpose. It's not about what camera you have. You can tell a moving story with anything, if the story is worth telling.

I can't wait to get my hands on this camera. Sure we would look bad ass with a red one, but do you need it? Do you have the crew to utilize it? I will be able to do tons of filming on the sly with Scarlet that Icould never get away with something as big as a One. I'm pumped. Thank you Jim and co.
Click to expand...

As far as I knew, the RED ONE, RED ELITE, as well as SCARLET, are not 35mm film cameras but are 3k, 4k and 5k video, that competes, if not surpasses the strengths and weaknesses of film. So I guess, me and Lynch, are alike in ways. And I would think that Lynch would want the Scarlet to be as accessible to his visions as he was to his camera.
 
USC Film Student...

USC Film Student...

Boz said:
I have to chime in here as well. I can't believe the amount of whining that's going on right now. I kinda predicted this way back when the hype started. Without any sort of info people begin to have unrealistic expectations as to what a product will be. For evidence of this, hang out on a Mac forum for a bit just before Mac World. Rampant speculation! Then what happens upon product release? Disappointment. If I have any criticism of Red at this point (and it's a very small critcism) it is that there should have been a bit more transparency Re: Scarlet. I remember posting early on requesting a bit more info so that people would have more realistic expectations. But alas it did not happen and now there are many people out there that are disappointed. So be it.

I believe this camera is as much of a revolution as the Red One was. Price vs performance NOTHING touches it. Nothing. No other camera in its class has RAW output, 120 fps, 3K res, 2/3rds size sensor. Not even close. Even cameras costing twice as much. Yet somehow its a "disappointment". I do not agree. I think this camera is a gift to the low-budget and student filmmakers out there. And for that I say to Jim and the Red team, thank you so very much....

....Now where do I reserve mine? :biggrin:
Click to expand...

Man... I don't know about whining... the only way I'll be disappointed is if I don't get to beta the camera...:tongue: knowing that everybody and their mother wants to already, I'm trying to figure out my pitch... but still. OK so I won't get 35mm DOF, that wasn't going to happen due to sheer physical space limitations.... however, if the speculation is true, and Scarlet comes in at under $3K then this could be my jumping in point! My friends and I have all been scrambling to come up with a plan to make $50Kfor a RED ONE.. it wasnt going to happen. Finally, with Scarlet we will be able to join in the REDvolution!

Thanks in advance Mr. Jannard!
 
It is not "whining" to give our opinion about not wanting fixed lenses. That's just an opinion. It's what "discussion" forums are made for.

Do you think any (even semi-) serious still photographer shoots on point-and-click comsumer cameras with fixed lenses? No.
 
I was in the first group into the booth this morning, just got on here...people are complaining about scarlet??? Holy shit, this camera is twice as good and a third the price of my best expectations.
 
The moaning in these forums is truly breathtaking. Buy it or don't buy it, but for God's sake $3K? That's extraordinary value and if it means a fixed lens then that's fine. RED are going to sell shitloads of these.
 
supergrafx said:
I don't understand why some of you guys are content with the fixed lens. Obviously, the knowledge of Red, has guided you to enlightenment that you need much more than what the contemporary pro-sumer offers when it comes to film. Shelling out $5,000 for a Red lens is nothing if your serious about making movies. Isn't the HPX500 like $11,500? The Scarlet with interchangeability will still cost far less than this, will be far superior as it shoots in 3k, ect..., ect... I think there are a lot of cheap guys on here that want quality for nothing by going for the fixed lens. How are you going to get skilled at interesting and artistic shot composing using a prosumer fixed toy lens? The Scarlet has awesome specs. It's as though some of you want this Olympic champion to be blinded. The lens is by far the most important component of a camera. It's the brain's/camera body's perception and sight in comparison to the elements that surround it. With an inter-changeable lens, you will learn the craft as opposed to being a pundant with an XL2, hdv, or other piece of trash, that only attempts to make a "film look," yet doesn't make the mark. I don't wish to downsize myself or my talents. Jim will come through, even for the economically hardened peeps like myself. P.S., to the comment about why not renting a Red One: maybe due to them being 600-900 dollars a day...? If I could own a Red One, I would never rent it out. It is like an artist's brush. You must take good care of your tools.
Click to expand...

Thanks for the lecture SuperGrafx. Yeah, color me a cheap ass. Sorry if I can't afford $3000 camera AND $1000+ for lenses AND $500+ tripod, plus a computer capable of handing & editing 3K footage, lights, and so forth. Yup, I'm forever doomed to make crap - me, and my fixed lens Scarlet. Thanks for educating me. I always though art was about the artist, not about which brush he paints with.

Somehow I think that Scarlet in the hands of a talented filmmaker (Peter Jackson? Steven Soderberg?) could produce a GREAT film, fixed lens and all.
 
vinney57 said:
The moaning in these forums is truly breathtaking. Buy it or don't buy it, but for God's sake $3K? That's extraordinary value and if it means a fixed lens then that's fine. RED are going to sell shitloads of these.
Click to expand...

RED is not Panasonic or Sony. It should not be their intent to sell "shit-loads." They will sell loads of Scarlet, just as many if not more, with the mount and option for interchangeability of lenses. I mean, to the RED ONE owners on this forum: wasn't it RED's accessibility in the RED One what made you side with the company and devout your loyalty when many others in the industry were calling Jim's ambitions a scam? Many of you have the money due to working in productions to afford the Red One since it costs a lot less than a 150,000 dollar camera, ect..., ect..., and may want this Scarlet to be a mass produced feature so that RED can become like Sony and Panasonic and create beta builds with new features that never have any bugs in them, ect... Scarlet will sell more with the lens attachment options, since people, even the poorer people who may or may not have as much money as you, want to be part of the game as well. With interchangeable lens options, the Scarlet will be the most seeked out camera for film schools and colleges as well as independents in the whole wide world. Please let the world enjoy some of the fruits of Red's success as well. It feels as though some may be scared of the competition in thinking that with the Scarlet with added options may counter their selfish aims.
 
Boz said:
Thanks for the lecture SuperGrafx. Yeah, color me a cheap ass. Sorry if I can't afford $3000 camera AND $1000+ for lenses AND $500+ tripod, plus a computer capable of handing & editing 3K footage, lights, and so forth. Yup, I'm forever doomed to make crap - me, and my fixed lens Scarlet. Thanks for educating me. I always though art was about the artist, not about which brush he paints with.

Somehow I think that Scarlet in the hands of a talented filmmaker (Peter Jackson? Steven Soderberg?) could produce a GREAT film, fixed lens and all.
Click to expand...

You are not cheap, and I'm not trying to insult you in any way. It saddens me that my Quicksilver G4 733 mhz, even if I would replace the processor to a 2.0 ghz and graphics card to a flashed 256mb ati, might not cut it for editing 3k footage, with or without a fixed lens. But as much as I would like to use the same computer that runs Maya, CS3, toon boom studio, ect.., ok, I must update it at some point. However the camera is my goal. I must first obtain this, then think about what I need next. Examples: Good lighting, sound, dolly, steadicam, ect... Rome was not built in a day. The brush is as important as the paints. I prefer oils, since I feel they are much more colorful. I was also not calling you or anyone else a "cheap ass." Look at me, I owe $60,000 for an education I never finished, pay child support every month, had to leave San Diego and surfing behind let alone the lovely hippie girls of Ocean Beach and a cool job at Rhino Staging and Events to be closer to my children. Now I'm 31, and as I get older, I know I only have now or never to make my dreams as a film-maker a reality. Being in DC, I've settled to relocate to NYC, due to the mass amount of similar starving artists who wish to succeed and also to be closer to my offspring. But I know I need the proper tools aka brushes and oils. Games are over, although I look very forward to GTAIV. It is hard to be patient and save for an expensive camera that may not be quite the Red One, but still executes the task at hand, but it is the only option.. The current prosumer cameras do not do the job, and that's why Red came into existence, at least I think so. I am sure you are very talented and may realize that a 3k hvx isn't what aspiring film-makers need, and if that is not one's intention, then why not support Panasonic or Sony? They seem to be doing a great job at making cameras that are not film worthy.
 
supergrafx said:
I don't understand why some of you guys are content with the fixed lens. Obviously, the knowledge of Red, has guided you to enlightenment that you need much more than what the contemporary pro-sumer offers when it comes to film. Shelling out $5,000 for a Red lens is nothing if your serious about making movies. Isn't the HPX500 like $11,500? The Scarlet with interchangeability will still cost far less than this, will be far superior as it shoots in 3k, ect..., ect... I think there are a lot of cheap guys on here that want quality for nothing by going for the fixed lens. How are you going to get skilled at interesting and artistic shot composing using a prosumer fixed toy lens? The Scarlet has awesome specs. It's as though some of you want this Olympic champion to be blinded. The lens is by far the most important component of a camera. It's the brain's/camera body's perception and sight in comparison to the elements that surround it. With an inter-changeable lens, you will learn the craft as opposed to being a pundant with an XL2, hdv, or other piece of trash, that only attempts to make a "film look," yet doesn't make the mark. I don't wish to downsize myself or my talents. Jim will come through, even for the economically hardened peeps like myself. P.S., to the comment about why not renting a Red One: maybe due to them being 600-900 dollars a day...? If I could own a Red One, I would never rent it out. It is like an artist's brush. You must take good care of your tools.
Click to expand...

Supergrafx is really totally right about the lens. I won't go so far as to say that no fix lens could work, but here the fixed lens is just 2.8! Get out your depth of field calculator. Unless you have a talking heads picture what can you do? You can't be a student filmmaker and really learn the craft with this camera. Sorry guys, I had hoped for better too.
 
I'm split on the fixed lens, on one hand it would be great to be able to change the lenses to suit the shot, but on the other I'm glad to have a camera that is so compact. For dramatic work there's the red one and epic, for the corporate and doc work that I also do, having a small camera is important.

A fixed lens doesn't mean that the quality of the lens is bad, although 2.8 is slowwww.
 
You must log in or register to reply here.
Back
Top