SCARLET / EPIC swiss army knife camera details announced

The HPX-170 looks more appealing to me after this announcement. I can hold it in my hands today, and the P2 workflow just works.

Scarlet promises to be a great camera, but I'm not going to be able to make any money off it for another year or two.
 
LuckyStudio 13 said:
i thought crippling is not the way of the RED ?
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OMG you beat me too it. I was just in IMs talking about this SAME thing. The 2/3" Sensor can shoot 3k @ 120fps but the S35 that costs more can't shoot that?

He hasn't said it yet, but why not clear the air like they cleared the air about the PL mount option on the FF35?

And wtf would want any Scarlet if you're stuck at 5K @ 30fps?

This is exactly why half the forum is up in arms. They're being as vague as a blank sheet of paper right now. Oh well.
 
panny, canon, sony etc all have something that RED doesnt have - a long history of solid workflow and support.

Again I am not knocking RED - they are amazing for what they are doing - but a red one with the support and workflow of the major brands - to me that would have been the announcement i wanted to hear. Sorry to harp on it. But I would be hesistant to use any of these modular designs on an "important" shoot until they have been around for a year or 2.
 
smelni said:
panny, canon, sony etc all have something that RED doesnt have - a long history of solid workflow and support.

Again I am not knocking RED - they are amazing for what they are doing - but a red one with the support and workflow of the major brands - to me that would have been the announcement i wanted to hear. Sorry to harp on it. But I would be hesistant to use any of these modular designs on an "important" shoot until they have been around for a year or 2.
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I'm sure the same was said about Red1 which is about a year old now, and it seems people waited 6 months rather than a year or 2 to use it on "important" shoots.
 
So it sounds like the Scarlet specs are not actually the MAX but the range? 5k 1-30fps is all you get and not less? For variable resolution and higher framerate you must go Epic? So Scarlet is the "low" end, the Red1 in the middle, and the Epic is the high end do everything the Red1 did but bigger and better? What a long day.
 
Oh, now I see where everybody is. Jeez. Those are great pictures of things I can dream of. They should sell posters.
 
Hazard said:
So it sounds like the Scarlet specs are not actually the MAX but the range? 5k 1-30fps is all you get and not less? For variable resolution and higher framerate you must go Epic? So Scarlet is the "low" end, the Red1 in the middle, and the Epic is the high end do everything the Red1 did but bigger and better? What a long day.
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I hope I wasn't wrong and 5k @ 30FPS is the max. And you can get 3k @ 120FPS.

I mean it SAYS that's the max posted. But now we have to wait for a chart.
 
so am i correct ,that my nikon prime lens set will not work with the 2/3 scarlet?only works will red primes ? only with the 2/3 scarlet with built in lens, then would hook up to my redrockm2? the nikon lens will work with the 35s.
 
coming from the sound dept..
i think this idea scares the crap out of me personally.

In fact, i just finished up a reshoot day for a film, using 2 red cams..
and it really got me when they already have plans to zoom in to different framings in post.

The perspective "sound wise" that i try so hard to get will be severely compromised..and with 28K? forget about it.

It'll either be the situation of having to wire everyone 100% of the time,
or ADR tons of scenes, either way i'll pass.



Kubrick71 said:
A 28k camera can change everything in terms of framing. Amazing, the idea of shooting masters and ultimately using a close up. Incredible stuff!
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Rippie said:
...i just finished up a reshoot day for a film, using 2 red cams..
and it really got me when they already have plans to zoom in to different framings in post.

...

It'll either be the situation of having to wire everyone 100% of the time,
or ADR tons of scenes, either way i'll pass.
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This could be the Newcastle talking, but it seems to me that if you're working on a production that can afford to throw fifty-five thousand dollars(!) at the sensor alone, to say nothing of support, acquisition, and editing hardware, you'll probably have money in the budget for a dozen wireless lavs. :laugh:
 
Kholi said:
It's hard to say, but I may never buy another camera after Scarlet. 2K @ 60p, Interchangeable lenses and a decent acquisition format was enough for me.
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Kholi:

You didn't tell me that you were working on your stand up act ;-)

This from the man who buys new cameras faster than I buy groceries, pretty much once every two weeks? You are funny man!

Dan
 
Ematic said:
The best part in all this is Sony, Panasonic, Canon and all these other companies are probably running around like chickens without heads thinking how are we going to compete??
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I seriously doubt this. This market is a tiny niche market. Vocal and active? Yes, indie filmmakers are the champion whiners of all web forums but economically? How many users are there for digital cinema cameras worldwide? Perhaps a couple hundred thousand people, tops, if even that? And out of those, how many already have cameras that they are happy with and making films with?

Sony, Panasonic and Canon are all hugely diverse multi billion dollar conglomerates. Our little chunk of their sales doesn't have them worried in the least. They want the business but they are not running around worried, believe me.

Dan
 
Kholi said:
The problem is that you aren't seeing this stuff at Full Resolution. That's where it really matters if you plan on using it for more than just hobbies. That's my take on it, anyway.

So, yeah, in the future if these two companies have the ability to address the needs of our niche they could be great. That includes full manual control, professional audio inputs and a semi-professional acquisition format all in one. Not to mention at LEAST 24 and 30p switchable. We lived without 60p and such for a while, no problem, but the exclusion of 24p is just asking for trouble.

So, right now? These two cameras can't truly work professionally but can be considered by hobbyists and for experimental shooting. If Jim and Co get their acts together and stop trying to conquer the world before they conquer the mountain (I.E bring us S35 Scarlet and Epic NOW not LATER) then it probably won't matter what they do. The Niche will be sewed up with $12,000 Scarlet Users shooting 5k @ 60p, PL mount options and a host of other things and being completely complacent with it. Those of us who shelled out for the Letus Ultimate setups will be migrating immediately, using CS3/4 to post or even ProRes for projects that only need to be mastered in HD. The option is pre-installed thanks to the labor, wheeling, dealing and commotion RED has caused over the past while.

It's hard to say, but I may never buy another camera after Scarlet. 2K @ 60p, Interchangeable lenses and a decent acquisition format was enough for me.
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well...yes and no... Professional is not a camera standard, it really doesn't mean anything. For example a good portion of "natural born killers" (Oliver Stone) was shot in super 8mm, which is hardly pro, or yesterday Betacam standard, which was pro video looks terrible compare to any $400 hdcam... Directors and dp's dicatate what pro will be, not Sony, Red or Panasonic. To me what I have seen of the D5 mkII footage is more beautiful aesthetically, in a compress form, than anything that I have ever seen shot with an HVX... Is the video of the D5 more compress than the HVX??? maybe so (I actually don't know)... But I really don't care, it's just a better look to me and as close to film as I have ever seen. The Pro thing doesn't really means anything...
 
I agree with Dan. The response from this camera isn't as crazy as you think. Most people I know don't even know - or care - about the scarlet announcement. Most DPs I've worked with don't like the RED.

The RED market is much smaller than most of us think. They are cameras for indie film makers. But think about this. Can you actually edit anything past 5k? 28k can't even be projected. 500mbs a second data rate? What can process that?

I think everyone needs to chill out until RED releases their actual specs for the cameras. Which it sounds like they will do in the next few days. Till then - all we have are ranges.
 
SomewhereinLA said:
well...yes and no... Professional is not a camera standard, it really doesn't mean anything. For example a good portion of "natural born killers" (Oliver Stone) was shot in super 8mm, which is hardly pro, or yesterday Betacam standard, which was pro video looks terrible compare to any $400 hdcam... Directors and dp's dicatate what pro will be, not Sony, Red or Panasonic. To me what I have seen of the D5 mkII footage is more beautiful aesthetically, in a compress form, than anything that I have ever seen shot with an HVX... Is the video of the D5 more compress than the HVX??? maybe so (I actually don't know)... But I really don't care, it's just a better look to me and as close to film as I have ever seen. The Pro thing doesn't really means anything...
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Experimental and the working world are two different things. I personally don't think that DOF is enough to make a camera worthwhile as this is what puts food on my proverbial table. When I say professional I mean that someone is gonna have to want to pay for it more than once.
 
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