Red Scarlet Announcement Info

Noel Evans said:
Looking into that now with some epic owners. Will post the info up when I have it.
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This works but is not a full debayer as far as I know - so the footage is noisier than it should be, etc. If you're OK with RED half-res good quality (which many are, but I personally don't like), you're OK. Also I think the output is 8-bit. Not sure if it's a true 10-bit output.

Sound Devices 240 or that AJA box is recommended.

Bruce Allen
www.boacinema.com
 
From you know where:

One of the best parts about Red is Jim Jannard sincerely cares about your wallet ... He cares so much he made another more affordable version!
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As Bloom said, redusers are Scientology crazy.
 
bgundu said:
Geez Glen... we must be on the same wavelength. I just order my Scarlet today as well. See you back in Toronto soon enough.
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How's the shoot going? We can set up a 'test' shoot when you get back - I'll round up the cats.
 
I have searched but i cannot find any scarlet x footage
Can someone please point me in the direction of some scarlet x footage
thanks
 
Do you people realize how unreliable Epic still is? No one has even seen any Scarlet's footage and act out as if they are buying a -9K super camera! The Scarlet will EASILY come to the Canon's price tag and even then you can't buy safety as you will with Canon. This fanboyism is so out of balance, it amases me.

Don't get me wrong, I'm in love with Scarlet (more so than the C300), but I KNOW that Scarlet won't be what they advertise it to be. Epic has serious reliability issues, damn sure the same will be with Scarlet, Its an expensive modular camera that will grow in size as well as price to be able to use it as a proper cinema camera. Post production is a ***** (compared to C300's).

It amases me how people act out as if this is the deal of the century when they clearly haven't even thought about it in a unbiased, balanced way. We are talking big buks here, how do you expect to become a serious, respected filmmaker, if you make these kinds of decisions, clearly without thinking?

Please lets not take this as if we're discussing who should be the next American Idol! Film making is never that simple... or clear!

Peace out.
 
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Nuno Dias said:
Do you people realize how unreliable Epic still is? No one has even seen any Scarlet's footage and act out as if they are buying a -9K super camera! The Scarlet will EASILY come to the Canon's price tag and even then you can't buy safety as you will with Canon. This fanboyism is so out of balance, it amases me.

Don't get me wrong, I'm in love with Scarlet (more so than the C300), but I KNOW that Scarlet won't be what they advertise it to be. Epic has serious reliability issues, damn sure the same will be with Scarlet, Its an expensive modular camera that will grow in size as well as price to be able to use it as a proper cinema camera. Post production is a ***** (compared to C300's).

It amases me how people act out as if this is the deal of the century when they clearly haven't even thought about it in a unbiased, balanced way. We are talking big buks here, how do you expect to become a serious, respected filmmaker, if you make these kinds of decisions, clearly without thinking?

Please lets not take this as if we're discussing who should be the next American Idol! Film making is never that simple... or clear!

Peace out.
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Thank you for your insights Nuno…
I purchased the Scarlet with my eyes wide open. I know the growing pains that the RED cameras have experienced over the years, I work everyday with AC's and focus pullers who use R1's and Epics on jobs when they aren't working with me.
I knew that in order to get the bare bones working cam I was going to spend just under $20k - and that's only because I already own PL glass, rails, FF, Matteboxes, filters, jib, slider, sticks, and pro heads… You are right, that the extras are what will kill your pocketbook. Even a kitted out AF100 will run you $15-20K.

Post production pain is a myth perpetuated by those who don't know how / or those who are trying to justify why they don't need 4K.

As for unreliability - it's an electronic device, so yes there can be a ghost in the machine, but even that is blown out of proportion. I had a long chat yesterday with a guy who used to assistant produce for me, who is now a producer at a studio with a shelf of R1's and 3 Epics. They work the Epics everyday, sure at this point playback is disabled; but Scarlet will ship with working playback. For the most part he says that they've been very reliable, and when something happens RED is there to help.

I'm not a fanboi - in fact I've spent the last 3-4 years avoiding working with / renting RED cameras - I'm a RED denier. However it's the right camera for my business moving forward; it will fill the niche of some of my clients who are looking for Epic / R1 / Alexa / F3 performance but have a restricted budget.

Maybe if you are a hobbyist or just starting out - this may not be the camera for you. **** I'm a mid level pro who made well into 6 figures this year with 2 AF100's, those are more than enough camera for 99% of what I do. But eventually I must bow to the market forces of my clients.

G.
 
Well said HeavyG. I too have avoided the Red cult, but at this price, I felt I should get to know the enemy. There have been a few jobs I din't get due to not being comfortable using the Red. Like HeavyG, I have already investing on many accessories that I can shift over to the Scarlet. I won't be getting rid of the Af100. It truly is a wonderful camera that is solid and is able to adapt to different shooting styles very quickly. I'm shooting a feature in India with a cast of 62 and 36 locations between Mumbai and New Delhi. We are shooting all this in 20 Days! Insane for sure, but a camera like RED would definitely take twice as long between setups. Not having power at most of our locations were fine with the Af100 because I had enough batteries for a few days of shooting. Not having to offload footage was a godsend. Sure having a Scarlet type of camera would have been nice, but certainly not practical.

I've been adding pics from our shoot every day:

https://www.facebook.com/media/set/?set=a.10150416848121093.412771.560761092&type=1&l=2109dc7430

heavyG said:
Thank you for your insights Nuno…
I purchased the Scarlet with my eyes wide open. I know the growing pains that the RED cameras have experienced over the years, I work everyday with AC's and focus pullers who use R1's and Epics on jobs when they aren't working with me.
I knew that in order to get the bare bones working cam I was going to spend just under $20k - and that's only because I already own PL glass, rails, FF, Matteboxes, filters, jib, slider, sticks, and pro heads… You are right, that the extras are what will kill your pocketbook. Even a kitted out AF100 will run you $15-20K.

Post production pain is a myth perpetuated by those who don't know how / or those who are trying to justify why they don't need 4K.

As for unreliability - it's an electronic device, so yes there can be a ghost in the machine, but even that is blown out of proportion. I had a long chat yesterday with a guy who used to assistant produce for me, who is now a producer at a studio with a shelf of R1's and 3 Epics. They work the Epics everyday, sure at this point playback is disabled; but Scarlet will ship with working playback. For the most part he says that they've been very reliable, and when something happens RED is there to help.

I'm not a fanboi - in fact I've spent the last 3-4 years avoiding working with / renting RED cameras - I'm a RED denier. However it's the right camera for my business moving forward; it will fill the niche of some of my clients who are looking for Epic / R1 / Alexa / F3 performance but have a restricted budget.

Maybe if you are a hobbyist or just starting out - this may not be the camera for you. s**t I'm a mid level pro who made well into 6 figures this year with 2 AF100's, those are more than enough camera for 99% of what I do. But eventually I must bow to the market forces of my clients.

G.
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From the hilarious Timmy Rubensteiner (http://www.facebook.com/dpredwizard):

I was reading some posts on the intertubes and I saw a whole lot of chumps who are disappointed with the Scarlet specs.

Ok listen up, because Timmy is about to dish some hot knowledge down your gullet. All you guys crying that the new scarlet is too expensive, and your moms can't afford it, need to chill. I know, when I first started, I thought that it was the camera that was holding me back, that if I just had something as awesome as a panavision majillium or whatever, then my movies would kick ass just as hard and as full throttle as Michael Bay's. Well, when my mom finally gave in and bought me the red one, I found out the truth. I was totally ****ing right. My movies kick some serious ass.

I can't believe you cry babies are even considering that you're going to make movies as awesome as me with some $6k camera. Even if you want to buy the $14k scarlet, guess what, it's still not as bad ass as my red one, and your movies are still gonna suck like Todd's Hi8 movies from 5th grade. Man up and get your mom to spend the cash on the real deal, not the camera for people on welfare. Oh, and look out, my Epic X is almost due to ship bitches! (Thanks, Mom)
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If I had not worked with rented R1 and MX cams before I would have not jumped into the order button frenzy.....but since I know how good it worked I have no doubts my scarlet will function as expected :-)
 
Some great posts here. Informative, and quite amusing at times! Love the comment about Jannard caring alright, about your wallet. Or RedUsers being Scientology crazy. LOL funny!

Still, IF Scarlet runs without a hitch, it's got great specs and should delivery a wonderful picture at a great price. Not what they all but promised, hinted at, claimed. But still impressive.

As noted in that thread JDavis, I will be surprised to see 2/3", or the Scarlet fixed ever made. I also won't believe anything Red says they are working on until I actually see it released. They took forever on previous projects, but mostly kept them close to what they were hyping. With Scarlet, three years of waiting produced a completely different camera, brushed aside by the word "professional".
 
Red makes the biggest announcement of their history and they don't show footage? The fanboys cheer the fantastic new machine and there is not even a second of footage to be seeing? That is just unbelievable. Meanwhile Canon shows Hollywood mini movies. They say look at footage from Epic and it will be the same. Really? Are they going to shoot themselves on the foot by releasing a camera that costs $10k and shoots pictures equal to their most expensive one? The big guys must be laughing their heads off. I am not getting neither camera and the Scarlet most likely in the distant future. Now lets wait what disaster they cook up next to delay production and give them more time to get it working properly. And after they start shipping lets see how many bugs they will have to address, something typical with any new camera. What a crazy way to do business.
 
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