Stop Sulking

[David Wesemann]

Seriously, sorry to start a new thread on this one, but I think the point deserves it.

I can't believe someone called scarlet a disappointment after this announcement. If you're eager to get 35mm dof, shoot on red, you're missing the whole point of this great little camera. 2/3 is still the biggest chip size ever to be found on any camera in this price segment, let alone size. Anyway, who is going to pull the focus for you, if this thing had 35mm dof, because I'd quite like to meet the guy. Don't you remember how amazed people were at the depth of field Orson Welle's images had. He struggled like hell to get these, because there were no smaller film sizes than 35mm. But it seems people are always trying to do stuff their tools can't do, while looking at the limitations rather than the possibilities. Some weeks ago I wrote that either way, someone was going to be disappointed by this camera. But today I'm surprised I was right, to be honest. Here we are with a camera that both aspiring or documentary filmmakers and RED one owners can put to good use. I thought this was impossible. And it shoots three-*******-K.

As for Jim and the rest. I'm amazed. You did it again. You shook this market to the bone, when it desperately needed it.

all the best, keep it up

David

Once again Spaceman Jim beats all odds to save the day!!!

[EHYO!!]

AMEN on every point.

i cannot wait to see the development of this product.

i think its sort of a case of... people wanting (i was going to say red one but yea...) EPIC money for peanuts.

this is something to be expected from the genuine openly receptive way that the Red people seem to do things. people voicing opinions on things are essentially helping Red with ideas and potential customer "wants" i think this is amazing. remember the products we have seen today are not strictly finals. things can change. i personally think the scarlet is unbelievable if the predicted price range is reasonably accurate.

this is an industry changing product. if you won't buy the camera then at least appreciate the fact that it will make whatever you choose over it (whatever the rivals can shake together and sell at a loss purely to retain market numbers) will have been influenced by what we have seen today.

my first post but i have been reading closely for MONTHS. i have learned a lot from you guys.

[Gabriel Winebrenner]

I'll stop sulking when Jim announces that I can attach a cinema inter-changeable lens to the Scarlet body. And I'll be able to start making films and setting out for NYC that much sooner. As for the Red One, I'd be saving up for a year and a half with 3 jobs due to child support and living expenses. The Scarlet and a Cine-lens would only take me half a year to come up with. Wouldn't you be happy if you could use your Red One lenses with the Scarlet? If I was looking for a cheap fix, I'd go with the HVX200, but I know what I want to do with my life and it is film. Say I was content with my prior 12 years in the AV industry as a tech and a stagehand, the Japanese models would be fine and will still be fine for most documentaries, weddings and political seminars. But RED is to replace this limiting market that actually ends up handicapping "could be David Lynch's out there." I believe RED can revolutionize the caste system which separates the haves and the have-nots, and socialize quality film making once and for all.

[Craig Ryan]

Yeah but if they did add a mount, then the price would only go up. The more you want added to scarlet, the more expensive it will become, theres no question about it. If you really need interchangeable 35mm cine lenses, then you could RENT a Red One, if money is the issue.

[red i wanabe]

I agree 2/3 chip is fine you need that for eng and run and gun. I just hoped that you could take of the measly 8x lens and put on different glass. Or a RED 35mm adaptor or a letus, for us folks who want DOF. Or at least make the lens fully manual, but not having intercangability limits it's uses.

I have a dream of making an HD/SDI multicam flypack based around the scralets cams. Image I could have about 8 cameras shooting a concert on 3K. That would look top notch and cost next to nothing. But I would need long lens for the close ups cams, and wide andle for the handhelds.

[Mike Bozulich]

I have to chime in here as well. I can't believe the amount of whining that's going on right now. I kinda predicted this way back when the hype started. Without any sort of info people begin to have unrealistic expectations as to what a product will be. For evidence of this, hang out on a Mac forum for a bit just before Mac World. Rampant speculation! Then what happens upon product release? Disappointment. If I have any criticism of Red at this point (and it's a very small critcism) it is that there should have been a bit more transparency Re: Scarlet. I remember posting early on requesting a bit more info so that people would have more realistic expectations. But alas it did not happen and now there are many people out there that are disappointed. So be it.

I believe this camera is as much of a revolution as the Red One was. Price vs performance NOTHING touches it. Nothing. No other camera in its class has RAW output, 120 fps, 3K res, 2/3rds size sensor. Not even close. Even cameras costing twice as much. Yet somehow its a "disappointment". I do not agree. I think this camera is a gift to the low-budget and student filmmakers out there. And for that I say to Jim and the Red team, thank you so very much....

....Now where do I reserve mine?

[Jonathan Wheeler]

I'll stop sulking when Jim announces that I can attach a cinema inter-changeable lens to the Scarlet body. And I'll be able to start making films and setting out for NYC that much sooner. As for the Red One, I'd be saving up for a year and a half with 3 jobs due to child support and living expenses. The Scarlet and a Cine-lens would only take me half a year to come up with. Wouldn't you be happy if you could use your Red One lenses with the Scarlet? If I was looking for a cheap fix, I'd go with the HVX200, but I know what I want to do with my life and it is film. Say I was content with my prior 12 years in the AV industry as a tech and a stagehand, the Japanese models would be fine and will still be fine for most documentaries, weddings and political seminars. But RED is to replace this limiting market that actually ends up handicapping "could be David Lynch's out there." I believe RED can revolutionize the caste system which separates the haves and the have-nots, and socialize quality film making once and for all.

That's interesting that you mention David Lynch, who eschewed film and shot his last movie on VIDEO, on purpose. It's not about what camera you have. You can tell a moving story with anything, if the story is worth telling.

I can't wait to get my hands on this camera. Sure we would look bad ass with a red one, but do you need it? Do you have the crew to utilize it? I will be able to do tons of filming on the sly with Scarlet that Icould never get away with something as big as a One. I'm pumped. Thank you Jim and co.

[antiquaeuropa]

2/3" is just not going to cut it for an artistic movie. I for one don't care about making commercial to promote crap that nobody needs.

Anyway, it is a great value proposition and will probably sell quite well. However, I doubt that any great movies will be made on it (at least that I would call great). Might be good to learn some things on.

Should be a fabulous camera for documentaries and news gathering. Maybe that is the professional market that Red is going for. However, there I would prefer longer record times. . . we will see what Scarlet delivers. Anyway, I think that the existing choices in the prosumer range provide enough to create a power documentary or news footage, and most importantly that ship today.

I would have loved to see S16 here.

2.8 is not that competitive. The HV20 has 1.9.

Also I am surprised that Red announced it now, giving Sony a full year to compete with it. I suspect that most would pay a premium for an equivalent camera from a long established company that is not so ever-changing and volatile.

Given the fact that it is not even coming out until 2009, I think that everybody on Reduser who is honest with himself will choose to sulk for at least a little while.

[Gabriel Winebrenner]

I don't understand why some of you guys are content with the fixed lens. Obviously, the knowledge of Red, has guided you to enlightenment that you need much more than what the contemporary pro-sumer offers when it comes to film. Shelling out $5,000 for a Red lens is nothing if your serious about making movies. Isn't the HPX500 like $11,500? The Scarlet with interchangeability will still cost far less than this, will be far superior as it shoots in 3k, ect..., ect... I think there are a lot of cheap guys on here that want quality for nothing by going for the fixed lens. How are you going to get skilled at interesting and artistic shot composing using a prosumer fixed toy lens? The Scarlet has awesome specs. It's as though some of you want this Olympic champion to be blinded. The lens is by far the most important component of a camera. It's the brain's/camera body's perception and sight in comparison to the elements that surround it. With an inter-changeable lens, you will learn the craft as opposed to being a pundant with an XL2, hdv, or other piece of trash, that only attempts to make a "film look," yet doesn't make the mark. I don't wish to downsize myself or my talents. Jim will come through, even for the economically hardened peeps like myself. P.S., to the comment about why not renting a Red One: maybe due to them being 600-900 dollars a day...? If I could own a Red One, I would never rent it out. It is like an artist's brush. You must take good care of your tools.

[Gabriel Winebrenner]

That's interesting that you mention David Lynch, who eschewed film and shot his last movie on VIDEO, on purpose. It's not about what camera you have. You can tell a moving story with anything, if the story is worth telling.

I can't wait to get my hands on this camera. Sure we would look bad ass with a red one, but do you need it? Do you have the crew to utilize it? I will be able to do tons of filming on the sly with Scarlet that Icould never get away with something as big as a One. I'm pumped. Thank you Jim and co.

As far as I knew, the RED ONE, RED ELITE, as well as SCARLET, are not 35mm film cameras but are 3k, 4k and 5k video, that competes, if not surpasses the strengths and weaknesses of film. So I guess, me and Lynch, are alike in ways. And I would think that Lynch would want the Scarlet to be as accessible to his visions as he was to his camera.