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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 :)

What would make Scarlet a perfect camera?

What would make scarlet the perfect camera?
-gear teeth wheel for follow focus on the mini primes
 
Shipping. That would make it the perfect camera.
 
Shipping. That would make it the perfect camera.
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Yeah! To be a real thing , not just a beautiful drawing would help it be a perfect camera. Until then is just a dream.
 
enrico parenti said:
What would make Scarlet a perfect camera
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I love that everybody has a completely different answer. They should start making custom built-to-order Scarlet's.

Personally, my answer is lower bandwidth (aka cheaper) ADCs. If 30fps is fast enough for max resolution modes on the S35 and FF35 Scarlet, why does the 2/3" Scarlet need 120fps? I think the answer is "it doesn't, but we used the same ADCs as in the S35 and FF35 and the 2/3" has way less resolution."

Substitute in some much lower bandwidth ACDs and give us a much cheaper 30fps 2/3" Scarlet. It can be done: the money is in data transfer bandwidth ($350 still digicams show us that sensors that size can be stamped for $2.35 and a pack of gum) .

I'm sure everybody will disagree with me though.
 
Lee Saxon said:
I'm sure everybody will disagree with me though.
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Well, maybe not everybody, but I will.

The 2/3", at least the fixed, is a Out-of-the-Box-everything-is-working Cam. And it is the only one not that upgradeable. So If I get a fixed one I need to have everything. I can't just Swap the Brain to a loaned Epic one to do my Slo-Mo. I need everything in Cam.

That's why I think the 120 fps must stay. And as cheap as the Scarlet is with it's 2/3" Chip, compared to other 2/3" Chips I don't think there is much Room to get it cheaper...
 
GP I agree with you as far as the fixed lens Scarlet is concerned, but I was referring to the interchangeable lens Scarlets. I would never lock myself in to a single lens. I like experimenting with perspective too much.

GPSchnyder said:
And as cheap as the Scarlet is with it's 2/3" Chip, compared to other 2/3" Chips I don't think there is much Room to get it cheaper...
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The 5mp 10.1x5.35mm 2/3" Mysterium-X doesn't cost any more to make than the 8-10 megapixel 2/3" (usually ~8.8x6.6mm because of the different aspect ratio) sensors common in sub-$800 point-and-shoot digicams or the 8mp (cropped to 6mp for video) 1/2.6" sensor in the just-announced Canon HS10 camcorder estimated to cost $1400. It costs exponentially less to make than the 21mp 36x24mm sensor in the $2400 Canon 5DII.

The difference is the processing components. ADCs with sufficient bandwidth to record 120 12-bit 5mp images per second are what make these cameras so expensive (that's why the 100fps 16-bit S35/FF35 Epics are exponentially more expensive than the 30fps 12-bit S35/FF35 Scarlets).
 
I think what our poster is suggesting is these cameras (H1 and HVX) are really crap. I have an HVX for doc shooting in the jungles of Africa. I want low noise, and be able to shot 1080p FULL RASTER that looks great. HVX does not shoot 1080p (anything that flags frames for conversion is 1080P is not good)

HVX and all other camera are hack jobs. Early dreams were sacraficed to make use of exsisting technology, and now we have a confusing array of codecs, and frame rates. 1080psf? 720pn.... As a result the picture is sacrificed.

We should have two choice 1080 24 P, and 720 24p

As a wildlife guys who shoots in rugged environments compression is a major factor. I need my camera to reflect that with options. A red 10 or 20 or even a Pro res format would fantastic as an option. We'll always shoot the best we can, but sometimes our environment dictate what's possible.

I need to shoot 1-2 hours a day, and would love a full raster codec that can allow me to take my camera and gear into the field.

Compression is great, but what sucks is the way other cameras interprit the image and squeze it before compression. I think you'd agree a jpg can look really nice, despite it's compression.

Jim I think all of you work is perhaps one of the greatest contributions to film and TV!!!

Please help us wildlife/Adventure guys!! I'll field test it for you!

Michael

www.digitalcrossing.ca
 
Yeah, the HVX really has a horizontal resolution of 540 TVL. It's mostly limited by the senors and lens, which are rather pathetic. My current camera uses the horrible HDV codec, but the lens and sensors are far superior to the Pany HVX200. But if Scarlet can at least get a truly effective horizontal rez of 1080 lines, it would blow away $30,000 cameras. And I would most certainly like to have a camera that would do that.
 
Well put, so to most of us, compression is a good thing, it is the cheap cameras that need to be done away with. I think Red understands this, and if enough people ask for a good compression format to meet our needs, there will be a happy 24p full raster world out there.

I don't think one camera has got it right, all have limitations when it come to 1080 24p. for the under 15k route. Sony going after a long GOP format was the worst idea. They have a nice image, but again it is 1080i hack, with flags.

Like others, I use my camera for other things. I like the option on scarlet to do 3k, and the high red codecs. It's just in the bush doing 10 part series that hits me.

Cheers,

MD
 
a real reflex optic loupe

a real reflex optic loupe

I posted a thread somewhere about this...
I have been dreaming about a rotary shutter, and reflex loupe to see how reality looks like in the other side of the lens.
Many of the modern optical loupes display useful digital informations too, as timecode, FPS, format, zebra patterns...
 
If Jim Jannard parachuted from the ISS with it, re-entered the atmosphere in a sweet suit, and handed you your camera with it filming the smile on my face before he vanished into a cloud of smoke after saying I could have the re-entry footage. :sorcerer:
 
Availability. I would desperately like to see some frame grabs just to get a sense of what the fixed lens is like at extremes of zoom and focus, what the dynamic range is like, and the resolution etc.

Specs are great but 60 seconds of actual footage would cause me to actually give up beer, start robbing banks, or whatever it takes.
 
I'd like to see lots of color customization tools built into the camera. Such as custom gamma, saturation, knee, white balance shift, contrast, black level control, aspect ratio, tint. Also some filters such as a vignette would be nice. The purpose would be for those who need to speed-up the process in post and already know what "look" they're trying to achieve.
 
Robert Schultz said:
I'd like to see lots of color customization tools built into the camera. Such as custom gamma, saturation, knee, white balance shift, contrast, black level control, aspect ratio, tint. Also some filters such as a vignette would be nice. The purpose would be for those who need to speed-up the process in post and already know what "look" they're trying to achieve.
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For monitor purposes only? Because baked into the file would not be that nice imho. You always change your mind on some takes in post...

And if you want a special look you can do kind of presets or so, to speed up the post.
 
My Sony V1 has a commendable array of adjustments for the incoming video signal. With some experimentation, it will mimic the color and tone many colorists try to achieve in post. I spend a considerable amount of time before I shoot to make sure I'm getting the best performance out of the camera when the record button is pressed.

It would be very beneficial to many users if the Scarlet had a similar, or even better array of tweaks and adjustments that can be made prior to shooting. Color adjustments in post will be minimized for the most part, which would help speed up my workflow considerably.

I understand that this would not benefit every Scarlet user, just like some videographers only shoot on a tripod, but not everyone. It's similar to the settings on my DSLR, it speeds things up if I don't have to apply a sharpening and saturation filter to every shot in post (even though it can be applied to a batch). It's more efficient if I just change the settings on my slr to slightly increase saturation and sharpness. Then again it may not be more efficient, but it's simpler.
 
Robert Schultz said:
It would be very beneficial to many users if the Scarlet had a similar, or even better array of tweaks and adjustments that can be made prior to shooting. Color adjustments in post will be minimized for the most part, which would help speed up my workflow considerably.
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I can see that this option can be usefull. At least in 1080RGB, when you want to output the footage as soon as possible.

But on the other hand my Workflow is even now focused mainly on Post. I tend to have the Crew wait the lowest time while shooting. They can wait when I work on the Stuff in post. If they get pissed you don't see it in the Footage, just in my inbox ;-)

I'd say our workflows tend to be on the other side of the posibilities, which doen't mean that anything is wrong with it.

Cool would be an option to use this settings as a presett for your post software. You have the "normal" footage, but the look is available from the beginning in post... hmmm
 
At the risk of being flamed, the perfect Scarlet should have a 3,072 x 1,728-pixel, 16:9 native imager, a 4.8-inch LCD, HDMI and HD-SDI out, dual XLRs (mini or regular), battery, and adequate storage. All for $3,750.

I still haven't heard why Red picked such a wacky 1.89:1 aspect ratio or 3,072 x 1,620-pixel count. At 16:9, 2:1, or 2.40:1, it must be cropped/windowed. It is hyped as a 3K camera, but at the aspect ratio it'll be used probably 90% of the time -- 16:9 -- it is at most a 2.8K camera. And that's before debayering.
 
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