FS7: RED Scarlet-W

- is the sensor still MFT'ish
- does it have high compression numbers like Raven
- what else makes it less/more than EPIC, etc.. ?
 
S35 field of view in 5k

Sync speed

4:1 REDCODE for 5K (5120 x 2700) at 24 fps
8:1 REDCODE for 5K (5120 x 2700) at 48 fps
3:1 REDCODE for 4K (4096 x 2160) at 24 fps
7:1 REDCODE for 4K (4096 x 2160) at 60 fps

Off speed

48 fps at 5K Full Frame (5120 x 2700) and 8:1 REDCODE
50 fps at 5K Full Frame (5120 x 2700) and 9:1 REDCODE
60 fps at 5K 2.4:1 (5120 x 2160) and 8:1 REDCODE

120 fps at 4K Full Frame (4096 x 2160) and 13:1 REDCODE
150 fps at 4K 2.4:1 (4096 x 1728) and 13:1 REDCODE
160 fps at 3K Full Frame (3072 x 1620) and 10:1 REDCODE
200 fps at 3K 2.4:1 (3072 x 1296) and 10:1 REDCODE
240 fps at 2K Full Frame (2048 x 1080) and 7:1 REDCODE
300 fps at 2K 2.4:1 (2048 x 864) and 7:1 REDCODE


In camera LUTs
Interchangeable lens mounts - PL, EF, Leica, Nikon, Motion Mount
Record raw and 2k pro res simultaneously.
plus wifi etc

It is a lot of camera and I think really does represent a repositioning of the range. This is essentially a 5k version of the Epic Dragon squeezed into the smaller, lighter faster DSMC2 ecosystem and will be an absolute workhorse for a ton of drama and doc productions.

Weapon is the highest of high end or for people who really need the higher framerates

Raven is going to be the new Scarlet/Gateway drug :)

But who gives a crap, I just got my Osmo delivered. It's raining outside and I don't have any pets to chase around the house to test it out with. Serious 1st world problems here. :(
 
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How I'm pricing it out is:

So $14,900 USD for the base i/o v-lock package
+ $195 for USB mag reader
(bring your own batteries to the party)

That's really decent.


What are the EPIC owners saying about this?
 
Don't buy the base package. The savings are pretty small.

The offhollywood modules will be released soon and they are going to have a cost-effective module with XLRs/pre-amp and a v-mount option.

As usual some people are over the moon and think it is the 2nd coming of Baby Jeebus with a sensor.

Some people feel betrayed by a company bringing out a new version of camera 2 years after the last.

Scarlet Dragon owners get a large discount on the cam and accessory voucher AND get to keep their camera and some are happy and some are moaning that it isn't good enough and they've been shortchanged, as though suddenly their current camera will no longer record the images it did the week before.
 
Thanks Liam and Ben.

I had asked the beforehand but man the first RED One non-MX was $17,500 pretty well out of the gate. I remember EPIC somehow got expensive enough that when Sony announced the new F camera's RED slashed prices by almost 50% but now somehow (I presume the Dragon sensor) the EPICs are like $50k again? Looks like the EPIC owners keep getting burned like wildfire.

I can't really keep up to the models, prices, features of all the RED camera's but really what happened to "rendering obsolescence obsolete"? Is that tagline either to piss you off more or to make you drink more koolaid?
 
An Epic Dragon is nowhere near $50,000

I think they do a good job on that front and offering incentives for people to remain invested with the, his change to DSMC2 has been slightly different because in order to be better they have simply had to drop some older tech but even then you can still use the red One monitor on the Raven if you have an adapter.

I ended up realising I could get more money by selling my Scarlet privately rather than part exchanging it for an Epic, but it would have been a different story if I'd been VAT registered at the time :)


In terms of Models and the hierarchy still for sale.



DSMC 2


Raven
Scarlet-W
Magnesium Weapon
Woven Carbon Weapon
Forged Carbon Weapon

DSMC 1

Epic Red Dragon
Epic Red Dragon Carbon

This excludes the monochrome versions as they are bit more specialist.
 
You can record the whole 5k sensor downsampled to 1080p Pro Res in-camera if you like and that will be S35 field of view. But if you are using any of the cropped resolutions to native redcode, obviously they have a tighter field of view. For exampleshooting 2k redcode is using a 2k crop cut out of the centre of the 5k sensor. Same as its always been.

Plenty of other cameras use a cropped mode for higher frame rates too.
 
You can also shoot RAW full frame in 5K, 4.5K, 4K, 3K and 2K in a variety of aspects ratios including anamorphic.
 
Anytime you want to shoot a different resolution other than the native sensor resolution you are looking at some kind of internal real-time processing/scaling and also hence some potential photosite binning etc.. which leads to more issues, so RED's solution seems to be cropping the sensor whereas Sony for example internally processes the 4K sensor data into HD or 2K in regular frame rate use.

I'm not sure which problem I prefer.
 
In a sense with DSMC2 it's not as much of a compromise because you can either crop and shoot raw, or you can downsample from 5k full frame to pro res in real time.
 
Ben Scott said:
Everything other than 5k is a crop unless Red has suddenly changed how their cameras work.
Click to expand...

From the tech specs:

5K Full Frame (5120 x 2700), 2:1, 2.4:1, 16:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
4.5K Full Frame (4608 x 2412), 2:1, 2.4:1, 16:9, 3:2, 4:1, 8:1, and Ana 2x, 1.3x
4K Full Frame (4096 x 2160), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
3K Full Frame (3072 x 1620), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
2K Full Frame (2048 x 1080), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x


I took "Full Frame" to mean full sensor. Doh, I see what they mean now...
 
starcentral said:
I'm not sure which problem I prefer.
Click to expand...


I think it's a catch 22.

If it's windowed then you have to hope that the OLPF is matched. As you know Sony sells a 2k OLPF for the F5/F55 (is it for both?).

Downscaling 4k -> 2k internally on the fly is probably better than pixel binning because you eliminate the potential for artifacts and lose some grain. The thing that bothers me about internally downscaling to 1080 from 4k or more is that sometimes the image can take on an artificially sharpened look depending on the algorithm used. You sometimes get a 1080 image that is way too lively.
 
I think that tends to be an issue with cameras that apply sharpening in-camera, which the Red don't. There's a fair bit of Red pro res footage out there to test and check.
 
Ben Scott said:
I think that tends to be an issue with cameras that apply sharpening in-camera, which the Red don't.
Click to expand...


Downscaling will sharpen up your image if you apply sharpening or not. The effect becomes more apparent the greater the downscale ratio is. The algorithm used is also a factor. Some are really soft like a notch filter and others have built in sharpening.

The compression from Prores or Redcode will naturally soften the image a little, so that may actually work to your advantage.


On a side note downsampling from a high resolution was one of our hail Mary last resort tricks back in the film days. We'd scan the shot at 4k/6k and downscale to 2k or slightly less (depending on delivery format). Sometimes it was just enough of an improvement to bring a shot that was slightly soft back from the dead.


There's a fair bit of Red pro res footage out there to test and check.
Click to expand...

No need for that. I've seen and handled countless hours of RED footage.
 
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Yes I'm aware of that. I was saying the negative aspects of downsampling are usually exacerbated by cameras which have in camera sharpening.

I wasn't being rude with regards the weapon pro res. I thought I was being helpful.
 
Ben Scott said:
Yes I'm aware of that. I was saying the negative aspects of downsampling are usually exacerbated by cameras which have in camera sharpening.

I wasn't being rude with regards the weapon pro res. I thought I was being helpful.
Click to expand...


I agree. Applying sharpening to a downscaled image is just asking for trouble.
 
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