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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 :)

The Update Thread

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Brian Pascale said:
If Red wants to bring back the $5,000 off plus $5,000 in Red credit, I would be willing to switch my Scarlet W upgrade to a Weapon upgrade. Just saying. I'm sure that would jump start the que.
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I just wrapped two days DPing w/ a CF Weapon... :001_tt1:

I'd probably be tempted, too! Still very excited for my Scarlet-W, though...
 
egon touste said:
I doubt when it comes to the crunch many broadcasters are going to turn their nose up at good content, even if its uprezzed 4k from an Amira .. I just don't see it .. I think everything shot at 1080p will be safe for a while ..I'm guesing, as I'm not involved in broadcast, that it will depend on whether the content is newly commissioned by them, or offered to them as a finished product .. too much cinema stock and content already shot at 1080p
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I agree that resolution has next to nothing to do with quality... but I suspect that you're giving the bean counters too much credit.
 
Josh Becker said:
I just wrapped two days DPing w/ a CF Weapon... :001_tt1:

I'd probably be tempted, too! Still very excited for my Scarlet-W, though...
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I have been having the same heart palpitations. My finger hovers over the BUY NOW button on Weapon Mg.
 
I'm pretty excited to see that I may still have an upgrade option in the future for the epic with this updated sensor. I'd be happy to be able to know which direction I need to look in for long term lens options rather than being stuck between s35 or VV. If it doesn't work out on the other hand, I'll just buy a weapon mg and work my way up.

On a side note, It seems that every time red comes out with new sensors or bodies, people who upgraded just beforehand feel slighted by the idea that they had just spent money on "out of date technology." I think I read in here that scarlet weapon is already out dated before it's even been received. I would be surprised if anyone in here's business resides on their gear alone. Specs certainly aren't everything, and 9/10 times I've seen the limitation residing in someone's ability to push the best image out of the camera, not because the camera has some limitation.

Anyways, this is all exciting to me and many others. Thanks to the Red team for not forgetting about the epic people out here in the streets.
 
egon touste said:
the weapon 6k didn't qualify for the credit (unless that has changed) , only the VV .. and I believe that was more than $15,500 ..that sounds like the weapon 6k upgrade price to me, unless my memory is failing (which it definitely is). I did speak to red Europe at the time for quotes
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My MG upgrade cost $14k (early Dragon adopter) and then Red gave me a $5k credit in the Red store (got in before that stopped).
That's after the $9k Dragon upgrade, and the $9k Epic MX upgrade the year before.
Who else lets you upgrade your camera like that?
Red, you crazy! (like a fox)
 
Darren Streibig said:
Thanks to the Red team for not forgetting about the epic people out here in the streets.
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Reflexively, that makes me want to point out that the Scarlet-MX IS being left behind. I see brains going for $3500. So if you have one, it may seem worthless compared to what you paid. But here is why it is fantastic to still have one. IT WORKS. And, it works well. And if you are a just getting started indie guy, you can gear up with DSMC stuff and that brain for not much dough. And it is still better than a shit ton of cameras being made now, never mind 2011.
 
Would be interesting to see what manufacturing costs are these days, it should be pretty streamlined compared to before.
 
Some basic specs on the Epic Helium would be nice.
And what season it's expected to be available (Fall, Winter, etc)
 
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Daniel Soderberg said:
Some basic specs on the Epic Helium would be nice.
And what season it's expected to be available (Fall, Winter, etc)
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I think it will be available much sooner than that. I think that is part of the point right? They are having some problems cranking out enough sensors (Dragon) to meet the demand. IF, this Helium wafer is easier to make...it will, A.) Free up some of the backlog for Dragon Sensors, because people will switch their orders, and B.) will be a faster assembly line because they will have less trouble producing them? Who the hell knows?
 
I wonder if they'll eventually drop a VV version of the Helium sensor. I imagine that would have a lot of Ks. Like maybe 10 or 11K ?
 
Milano Questa said:
Redcode beyond 2:1 is Lossy Raw. There are lossless compressed Raw formats like Nikon's NEF or Canon's CRW. Zip & Rar also compress without losing any data. But Redcode 3:1 and up is lossy. It irreversibly throws away image data.
End of discussion. lol.
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While correct, this changes nothing. It's still un-deBayered sensor data, which is by definition raw, and is therefore still raw, no matter how much anyone argues, complains, or opines about it. Ergo, this discussion will never end because there will always be people who would rather push their opinion rather than learn something.
 
Rakesh Malik said:
While correct, this changes nothing. It's still un-deBayered sensor data, which is by definition raw, and is therefore still raw, no matter how much anyone argues, complains, or opines about it. Ergo, this discussion will never end because there will always be people who would rather push their opinion rather than learn something.
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Raw is not a defined camera characteristic. It's just what people make it up to be.
DSLR users consider whatever comes out of the HDMI port to be Raw. Even if it's 8bit. Raw for them means uncompressed.

Technically speaking, Redcode 3:1 is not Raw. It's a modified version of the bayer data produced by the sensor. Thus, by the very definition of Raw, it can't be Raw.

It's like applying noise reduction (or in this case adding noise that didn't exist in the original image) in camera. How is that Raw?
 
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Raw was uncompressed sensor data in my day, whatever format. Unfortunately people from communities like Red made Raw to be something it was not, based on a misconception of a compression routine that worked on Bayer type of raw data (we presume), in their own opinion.

However, does Red even use Bayer in all its sensors. There is so called random (square rotated), rgbw a potential Red partner Kodak used, and a number of others, including that 45 degree Sony pixel thing, and other part complimentary. I am a bit suspect of the rgbw, because it allows lower light from the clear tile, and dragon is shown to have a little color bias (please nobody get me to hunt down for links on that again, just look up my past threads).

Has anybody verified what color filter pattern they use these days with a microscope yet? I've asked in the past but never seen anybody actually state what they use on different cameras, just assumptions it is Bayer.
 
I'm being very patient like many redusers of course
but when you get the "Your SCARLET-W Camera Is Allocated" (that was 04/15/2016)
and you make the payment, aren't you delivered right away ?

- Order placed for RED Raven on 09/26/2015
- Order placed for RED Scarlet-W on 12/12/2015
- Switched from Raven to Scarlet-W on 03/14/2016
- RED Scarlet-W Allocated on 04/15/2016

Is anyone in this type of situation ?
 
Greg Latham France USA said:
I'm being very patient like many redusers of course
but when you get the "Your SCARLET-W Camera Is Allocated" (that was 04/15/2016)
and you make the payment, aren't you delivered right away ?

- Order placed for RED Raven on 09/26/2015
- Order placed for RED Scarlet-W on 12/12/2015
- Switched from Raven to Scarlet-W on 03/14/2016
- RED Scarlet-W Allocated on 04/15/2016

Is anyone in this type of situation ?
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Greg that sounds funky. Give your Bomb Squad Rep a call.

Brent mentioned a couple of peeps had some weirdness around April likely due to the NAB storm.

If you were allocated and paid you would have your camera by now.
 
Milano Questa said:
Raw is not a defined camera characteristic. It's just what people make it up to be.
DSLR users consider whatever comes out of the HDMI port to be Raw. Even if it's 8bit. Raw for them means uncompressed.

Technically speaking, Redcode 3:1 is not Raw. It's a modified version of the bayer data produced by the sensor. Thus, by the very definition of Raw, it can't be Raw.

It's like applying noise reduction (or in this case adding noise that didn't exist in the original image) in camera. How is that Raw?
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I would ask this to Sony, Nikon, and Canon who all use noise reduction algorithms before the raw file compression in their cameras.

Personally I think we should have a big protest because people say shooting film is like shooting raw ! but film throws away information before recording the raw image data ! It's a conspiracy (...✨sarcasm✨)

Long story short, these days, I'm so thankful to have compression in my RedRaw... Not only do I not want to see every pore or real world flaw when making a digital film, I'm so thankful for the ability to shoot good high speed and fit a lot of footage on a 512gb magazine without wanting to kill myself from so much (ultimately never needed or even wanted) data.

My clients have never told me , "Dan... Your work... It's not bad... But listen... Here's the thing... We were reading specs and we discovered... Ummm... What you've been shooting for us... It's not...RAW, at least as defined by part of the general internet consensus. Once we found out, we uh, thought we should let you know, we might have to start hiring someone else, or maybe dictating to you what camera you can use. No hard feelings right ?"

There are plenty of benefits and drawbacks to all camera systems on the market, I'm still exceptionally pleased with my dsmc2 cameras, like far more than some other stuff I've tried like Ursa Mini 4.6K. These days, Red just works, it's convenient, it looks damn good. So Does Alexa, also a great Digital film camera.

I'd be curious to know if there is any lossy or lossless compression in an Alexa mini's packaged mxf raw (it's not .ari files)... I could kind of not care much less, I think it has fantastic end results too, so why get loco ?
 
Dan Kanes said:
I'd be curious to know if there is any lossy or lossless compression in an Alexa mini's packaged mxf raw (it's not .ari files)... I could kind of not care much less, I think it has fantastic end results too, so why get loco ?
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Exactly. The codecs are all great and solid now. I was surprised to read that the last season of Orange is the new black was shot @4k422 AVC on the Varicam. So why would anyone complain about redcode, raw or not?
 
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