Michael1
08-31-2008, 08:19 AM
Will there be in problems in using a SCARLET in 25p/50HZ UK?
Especially to users in the UK and other countries where 25p is favoured. Firstly, let me say that my information is old. I contacted RED about 8 months ago. At that time I learned that the RED ONE is only capable of shooting 24p, not 25p (this may have changed). Have RED users in Europe and the UK experienced any problems with this 24p/60HZ machine in a 25p/50HZ environment? I remember some years ago being warned off buying any camera that could only run in 24p. I was told vague horror stories about sound and editing, and compatibility issues with other devices.
I want to buy a SCARLET. Although this machine is an unknown quantity at the moment, the SCARLET, like the RED ONE, may also be manufactured to 60HZ/24p specifications – will I have any problems?
With the possibility of keeping the film production in-house, on your own MAC, by using Final Cut Pro, is 24p even an issue? Maybe I’m answering my own question here, but a lot of these earlier complaints seem to relate to problems with 24p footage and post-production houses in relation to the final transfer to film with equipment that wouldn’t deal with 24p. If the user of the camera owns his own MAC and a copy of FCP, does the 24p/25p problem even exist?
Have UK RED users of the RED ONE noticed any other problems, for instance
-With the UK Power Supply: could this be solved by a simple travel plug adapter, or is the solution more expensive?
-With the operation of the camera in the 25p/50HZ environment, its relationship to TVs/other video equipment?
-With sound: separate recording devices that could be running at the wrong speed to sync with the 24p footage (I’m guessing here)?
-With mastering to DVD/Blueray or any form of HD tape?
-Will these problems render the camera or any device for the 60HZ/24p American market uninsurable in the UK?
-Will it invalidate any insurance or guarantee that I might get from RED?
I really hope someone out there knows the answer to these questions, it would be a great help.
Thank you for your time.
Michael.
Especially to users in the UK and other countries where 25p is favoured. Firstly, let me say that my information is old. I contacted RED about 8 months ago. At that time I learned that the RED ONE is only capable of shooting 24p, not 25p (this may have changed). Have RED users in Europe and the UK experienced any problems with this 24p/60HZ machine in a 25p/50HZ environment? I remember some years ago being warned off buying any camera that could only run in 24p. I was told vague horror stories about sound and editing, and compatibility issues with other devices.
I want to buy a SCARLET. Although this machine is an unknown quantity at the moment, the SCARLET, like the RED ONE, may also be manufactured to 60HZ/24p specifications – will I have any problems?
With the possibility of keeping the film production in-house, on your own MAC, by using Final Cut Pro, is 24p even an issue? Maybe I’m answering my own question here, but a lot of these earlier complaints seem to relate to problems with 24p footage and post-production houses in relation to the final transfer to film with equipment that wouldn’t deal with 24p. If the user of the camera owns his own MAC and a copy of FCP, does the 24p/25p problem even exist?
Have UK RED users of the RED ONE noticed any other problems, for instance
-With the UK Power Supply: could this be solved by a simple travel plug adapter, or is the solution more expensive?
-With the operation of the camera in the 25p/50HZ environment, its relationship to TVs/other video equipment?
-With sound: separate recording devices that could be running at the wrong speed to sync with the 24p footage (I’m guessing here)?
-With mastering to DVD/Blueray or any form of HD tape?
-Will these problems render the camera or any device for the 60HZ/24p American market uninsurable in the UK?
-Will it invalidate any insurance or guarantee that I might get from RED?
I really hope someone out there knows the answer to these questions, it would be a great help.
Thank you for your time.
Michael.