SCARLET / EPIC swiss army knife camera details announced

Sounds like they haven't even gotten the ASICS down, let alone field testing.
It's 2010 FOR SURE. I would say mid 2010. That's fine. They should only release them after extensive testing. The early builds on the RED (i.e. prototypes) were really scary. Jannard is right. It's hard.
And it allows my film cameras to be relevent for longer :).
 
what sub-forum did he announce this? I looked under 'Reacon' (where he usually announces things/progress) and found nothing...
 
puredrifting said:
Boy, I'm surprised.

Not.

Someday the Scarlet will come and it will be awesome but in the meantime, the 5D is pretty cool for the money. Just bought my second Canon L lens for it. This reinforces that I am going to keep the 5D MKII.

Dan
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Well, the 5D MKII is a little bit much for me right now (considering lenses and accessories), and I need 24p, but using the same logic as Dan, this makes me feel much safer in going with a GH-1 until one of three things happens:

1) Nikon announces a D400 or some form of camera that addresses the issues of the D90.

2) Red actually releases something (not a dig at you guys over in the land of Red). I actually think it is better that you are all waiting due to extra testing and the crud state of the market right now. I'd rather wait another six to nine months for a better product from them than have them rush the Scarlets/Epics out the door just to release something. Also, computer processing power has more time to get up to snuff for Red projects, not to mention the various NLE makers who now have more time to optimize for Redcode RAW and other workflows/codecs.

3) Canon's rumored APS-C XL-H1 variant is mighty interesting to me, but I bet we will have to wait until this winter to hear more about it, if it even exists or will exist.

So come on Nikon, let us in on what's going down for a D90 successor. Once the GH-1 actually becomes more readily stocked everywhere, both it and the 5D MKII will continue to grab a huge chunk of the 'hybrid market'.
 
Man it is kind of sad really. Red One is a pretty amazing camera. Just make that Cheaper version that shoots 2k and uses still lenses for the short term. I will take a Red One (Light). The problem is Red's Competitors will come out with a GH2 and a Canon 5D3 by the time scarlet hits. Or even worse video cameras with SLR sensors.

It's going to be a long summer for Red. :(
 
A lot of negative RED comments here, haha, it's kind of funny. Seriously -- the 5D? A freakin' camera has you all excited because it shoots hokey little videos? I'm not seeing it, sorry. I have a D90, it's a great little feature, but it's still a camera, a still camera, it is not a professional solution for video work.

And again, this happens a lot, more amateurish comments on DVXuser compared to more professional knowledge on REDUser -- it doesn't matter if 1080p is just fine for feature films, that's just fine for the EXHIBITION format, it's not just fine for the ACQUISITION format, then again a lot of people on this forum probably have no idea what the difference is because they haven't really read much or done much in film. At least, that's how it seems sometimes, with these comments, which are just frankly not informed. If you have a 3K or 5K image you have a lot more flexibility in post to deliver ultimately a 2K or 1080p final product, which is the goal for most filmmakers indeed, but if you shoot 1080p you have no wiggle room. And if 720p is good enough for you as someone said, just use the HVX200, it's a good camera and already well proven with a solid workflow.

The Scarlet is going to be BY FAR the best camera on the market, and for some time. There is really no competition. If you were a total n00b and read this thread, you'd think somehow that RED was playing catchup and that there is all of this competition ready to pounce, when the reality couldn't be further from the truth -- RED is YEARS ahead, there is NO competition in their market whatsoever, and there is still nothing even marginally close to the RED One on the market for the price. Wait, no, I misspoke -- there's nothing on the market even close to as good as the RED One. Period. Regardless of price. But anything that is still fairly good is also still way more money.

I'm not sure what reality some of you people live in.
 
take it easy. make your points. make them well. but remember that this isn't your own personal forum for insulting the membership.
 
The Scarlet is going to be BY FAR the best camera on the market, and for some time.
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When it comes out in the year 2015. Remember that in life things change.... Thats the reality we live in. You can't be dreaming about magical cameras with box office success coming with the warranty. A camera that who knows when it will be ready. If it was as easy as just saying we will create a camera that will make all your filmmaking dreams a reality for poor low low budget "experts" and "puff" make it happen it would have been done by the big guys already. And if someone is really successful in this business they wouldn't need Scarlet because they would be making great money with their Red Ones already, right?

The 5D and the GH1 are here now. We can use them and make some nice work with it, the Scarlet... maybe some day.
 
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JonathanLB said:
A lot of negative RED comments here, haha, it's kind of funny.
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You can see from my post count, I have seldom posted here, even though I registered after getting my DVX, years ago. I'm a filmmaker and this is a camera forum. Does that make sense? In other words, I make a lot of movies and talk about filmmaking, not so much the gear. Tools are important, but they are.....tools. Tools constantly change, while the pre through post production stays relatively familiar - you script, storyboard, schedule, cast, shoot, edit and score.

I'll admit that I do have some attitude about RED. Why? Because for years, people have been posting about the latest greatest thing (just like the DVX, HVX, etc.). While the Panny cameras came and went, I don't stop hearing about this RED. Now that some of them have been released, I hear that they offer great image quality and have a lot of latitude, etc., which is great. But the tone of the talk is often like, "RED makes all other cameras obsolete. 4k slays 1080." ,etc, etc.

That tone continues with the Scarlett and Epic, yet all of this stuff is still a brochure. So, I keep making movies, using whatever camera I have at the time. Shouldn't that be fine?! Isn't it okay to think about things like the 5Dll? A lot of indie filmmakers are poor blokes who are looking into breaking into affordable High Def, so why not the 5Dll? It's not like Scarlett will be out at a definitive date.

From my perspective, I would be happy to see the RED people succeed. I mean - I live in Las Vegas, where Jim Jannard bought 80 acres for RED's Headquarters, housing and studios. I like the idea of more movie production here. I think the problem is that the company puts out all of these early projections, when they should only be selling........, after they have the product. The Brochure at the beginning of this thread should not have been released, period.

What happened was that a lot of people put off buying any camera, because Scarlett was coming. Of course, they wanted their feature to have 3K resolution. Some people even planned their movies around the Scarlett's estimated release, planning their schedules around spring and summer.

Thankfully, I'm not too tech oriented, so I continue making my movies, with what I've got in front of me.


Seriously -- the 5D? A freakin' camera has you all excited because it shoots hokey little videos? I'm not seeing it, sorry. I have a D90.
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The D90's video has taken a lot of flack, and it seems rightfully so, while what I've seen from the 5D looks very usable. The rolling shutter seems to be much less apparent. I wouldn't mind intercutting some city night shots taken with the 5D's image sensor. I heard Canon released an upgrade for more manual control. I can see where it could be useful. I don't have one, myself, but I would like to get it.



And again, this happens a lot, more amateurish comments on DVXuser compared to more professional knowledge on REDUser -- it doesn't matter if 1080p is just fine for feature films, that's just fine for the EXHIBITION format, it's not just fine for the ACQUISITION format
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This is what I meant by "any other camera isn't good enough." When distributors from across the world come to the American Film Market, they have to work fast and check out dozens of movies. Reps and filmmakers usually can show the footage on a laptop or TV. A Japanese distributor asked to see one of my films, but at 32X speed! Basically, he was quick checking the image and making sure the whole movie was there. Then he bought it. Of course, they ask what the format is and it is up to them to accept or decline.

For a "studio grade" theatrical release, I can see the line of thinking, regarding a 2K res version of the movie. Thank goodness content will always be king, so that low res, no budget flicks like EL MARIACHI, BLAIR WITCH (shot on High 8 video!), OPEN WATER, TIMECODE, 28 DAYS LATER, or whatever strikes a chord can trample into theaters. If High 8 video can go to the theater, then I'm not worried about CLOVERFIELD or about 720 or 1080's chances on home television markets.

As far as "Acquisition format", I've never had a problem with it, and I've shot features on Super 8mm, 16mm, Mini DV and HD (1080), all of which got distributed. I remember that Lionsgate had some quality control reports for me (QCRs), where I had to correct the blacks (broadcast blacks), distortion in certain audio portions and any edit that had a partial frame ("mis-fire"), prior to the next shot. They didn't miss a trick.



a lot of people on this forum probably have no idea what the difference is because they haven't really read much or done much in film
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I know very few people, here, including you. As for me, I've been making films for more years than I care to admit, but I still have a guerrilla mentality. :laugh:



If you have a 3K or 5K image you have a lot more flexibility in post to deliver ultimately a 2K or 1080p final product, which is the goal for most filmmakers indeed, but if you shoot 1080p you have no wiggle room. And if 720p is good enough for you as someone said, just use the HVX200, it's a good camera and already well proven with a solid workflow.
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While I agree with most of that, I'm not going to sweat it. It's not like the Scarlet is available and RED rentals are not a priority, since I'm satisfied with what we have. I'll have to make sure I'm using a good codec so that my 1080 is good enough t0 hold up on 1080 and under formats. If 2K res TVs start appearing, then I'll be pissed. :)



I'm not sure what reality some of you people live in.
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The reality is whatever market will bear. The reality is that Blu-ray still lags far behind SD delivery formats, like DVD, VCD, VOD, Broadcast, etc. The reality is that shooting formats change constantly, while broadcast resolution rarely does.

I would love to have the RED, but I don't require it for making DVDs. When/if my business calls for it, I'll make that move. We've projected theatrically, more than 50 times, but our main destination is mostly SD, broadcast and some HD. We're happy to be compatible with Blu-ray and 1080 TVs. Downconversion from a larger resolution would be nice, especially with greenscreen, FX and stills, but I'm pretty comfortable about using my same gear for the next few projects.

I guess my point is, don't blame your tools for writing a bad script. If you have a RED camera, then that's awesome. Be thankful for what you have. If not,......then be thankful for what you have! Filmmakers sell concepts, not hardware. If I cast Johnny Depp in a movie shot on Mini DV, format isn't going to matter.
 
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