October 30th Announcement Feedback

[Christopher Nagel]

I am not sure what question I'm asking here, but I have a suspicion it's more about math than anything else.

16mm film can be exhibited via 35mm prints and the effect is "grainy" (or any number of other adjectives like "immediate", "gritty", "natural", etc.).

What math should I do to imagine what a Scarlet image will look like when printed to a 35mm exhibition print - will it look pixelated - or will it look better?

35mm@2K: 2.3 pixels per square mm
2/3 @ 2k: 37 pixels per square mm

16:1 format ratio (35:2/3)
16:1 pixel ratio (37:2.3)

So Scarlet @ 2k = std 35mm telecine quality?

Ahh, like I said, I think I'm asking how to do the math... I have a suspicion that this is not a real comparison (like comparing 1 apple to 1 orange and saying they're the same cuz they're both 1).

Chris
(ever feel like you understand how the monkey feels about that darn tin can?)

[Hrvoje Simic]

Another thing to consider here is how many different ways that single ring could be used. What if it were tied to a rocker switch or other buttons to toggle functionality? For example, push down on one half of the rocker and the ring controls zoom, push down the other side of the rocker and it's iris, neutral position is focus. What if that is only one method and all different approaches can be user-defined?

Interesting. Maybe something like additional mini rocker or a switch on a handle (perpendicular to zoom rocker and cca 0.5" in size) near a pointing finger to switch between ring functions, say focus/iris or focus/zoom. That way left hand could always be on the lens and right always on controls. I'd put that just a tad to the left of the pointing finger.

Personally, I'd like to have my iris on a dial, zoom on a rocker and leave the ring for focus. At least for a compact 2/3" camera that would suit me just fine in most situations.

Same here.

Some motion media people sneer at auto-anything, but I've never been that way. I simply setup and use a camera in the most practical way to get the images I'm after. Even when using B4 2/3" camera systems for certain rapid pace genres, I would routinely use auto iris, with of course manual focus and rocker zoom. That's exactly what I'd be using with the fixed lens Scarlet most of the time for quick shooting of fleeting subject matter - auto iris, manual focus, and manual (rocker) zoom.

...I had a wide choice of high-end camera systems to use. What did I opt to use? A tricked out VX2100, with a Varizoom Lanc pistol grip, a zoom through wide converter, a small sungun, an L bracket with a short shotgun and a dual wireless receiver. All week long I'd be in big scrums of other camera crews - but I'd consistently get image angles the shoulder camera crews could only dream of. Many times they'd say "I wish I had your camera system today!". That VX2100 was set up just how I said above that I would setup the fixed lens Scarlet for shooting subject matter like that - auto iris, sometimes auto focus and sometimes manual focus on the lens ring, and manual rocker zoom.

Oh but noo Gibby, how dare yee, that is so not "pro". :)

[David J. Shuman]

Hello, If StarWars Episodes II & III were shot on 1080P and letterboxed for 2.35:1 for 35mm exhibition prints, then Scarlet's 2/3 3k de-Bayered 2.5k (roughly) image should be fine for theatrical quality. The new push for 4k digital projection in theatres might be an issue down the road, but the quality of these new cameras should be enough for most situations. SMPTE defines new 3-D standards as 2k for each eye, Scarlet 2/3 would be excellent for 3-D applications....

[Zachary Marsh]

A question that someone might be able to answer -- In terms of the new camera's, have we heard about their functionality with Vegas/FCP/Adobe? Is the workflow going to be the same?

Will we still be able to re-package red files into whatever codec for FCP? Are there still going to be proxies to bring into the timeline? Has any of that changed?

[I Bloom]

David you're right!!! I can't fully understand how this "Fly by Wire" works... but I really need a Zoom gear... and a focus one at the same time... waiting waiting the end of November!!!!

I imagine it's just a matter of cost, after all the lense and the camera come together, and they are the entry level DSMC. If you need more rings it's just a matter of upgrading to a non-fixed lense Scarlet.

-------

As to those upset about the exclusivity of the Tattoo program. I'd say it seems like Red doesn't have much choice in the matter. They can only create a certain number of these cameras and the cameras are for Red an investment in field knowledge about the design. So they have to get the best feedback possible, they have no choice.

Sadly alot of guys who started shooting on the camera in 2007 and have made a career out of Red One will probably still not qualify (myself included.) But keep in mind it's only ownership that is exclusive, anyone can rent a Tattoo camera and start shooting DSMC this year (hopefully), that's really how it worked in the early days of the Red One as well. However my particular dream of carrying my Epic at all times (regardless of social awkwardness) will likely have to wait.

IBloom

[Deanan]

I imagine it's just a matter of cost, after all the lense and the camera come together, and they are the entry level DSMC. If you need more rings it's just a matter of upgrading to a non-fixed lense Scarlet.

Exactly the point of the non-fixed.

[Billy Gedney]

A question that someone might be able to answer -- In terms of the new camera's, have we heard about their functionality with Vegas/FCP/Adobe? Is the workflow going to be the same?

Will we still be able to re-package red files into whatever codec for FCP? Are there still going to be proxies to bring into the timeline? Has any of that changed?

That is an interesting question... I was thinking, doesn't FCP have a max resolution just under 4k which requires editors to edit with proxies or lower resolution sources, depending on the destination? How would that change once we have the option to edit 3k files?

Billy Gedney

[Jarred Land]

Jim / Jarrad

First - thanks for the great work you guys over at RED are all doing in getting these cameras to us. All of them are game changers!

A few questions - not not if they have been answered (going through, can't find the answers!)

1. Will the Scarlet S35 (indeed all the upcoming DSMC cameras) be able to do the touch focus?

yes

2. Is the touch-focus as simple as touch the LCD on where you want to focus and it sets the correct focus?

yes.. and there are a few other features for racking etc. that should make you guys pretty happy.

3. Can you continually touch the screen as your object moves and it will keep it all in focus?

yes

If yes to all the above, I think you have defined a new job role in the industry from Focus Puller to Focus Toucher!

Thanks and keep up the great work.

Steve

probably a blend :)

[David Dennis]

I don't even know why people would fight over being in the program, but then again "im not beta tester material". For me it seems like a bad deal no matter how you put it. Get a camera you can't trust and on top of that you have to play nice and even pay for it.
The moment Peter Jackson recieves his Tattoo, Jim has gained an expert debugger for free. Guess who is smiling most.

Nik Skjøth

At the same time, your feedback is shaping up how the system will work in its final form. For people who have always wanted a custom camera setup, it's a dream come true.

Remember too that Jim has mentioned he will lose money on every Tattoo sold.

I have a hunch that when Peter et al receive their cameras, they'll be smiling along with Jim, and that's how things should be.

D

[Graeme Nattress]

Hello, If StarWars Episodes II & III were shot on 1080P and letterboxed for 2.35:1 for 35mm exhibition prints, then Scarlet's 2/3 3k de-Bayered 2.5k (roughly) image should be fine for theatrical quality. The new push for 4k digital projection in theatres might be an issue down the road, but the quality of these new cameras should be enough for most situations. SMPTE defines new 3-D standards as 2k for each eye, Scarlet 2/3 would be excellent for 3-D applications....

3k on Scarlet should look lovely (guess measured resolution out to ~2.5k). However, I have little doubt that 3k nicely downsampled will make for a sharp (but not nasty aliased edgy) 2k that just pops.

There should be visible superior resolution to that of a full 1080p, and probably more than twice the horizontal resolution of the mushy "1080p" I'm measuring on the vDSLRs that claim "full 1080p".

Me - I can't decide how many S2/3" I'll buy - but I know I want quite a few! I reckon it will be "the" camera to carry around with you everwhere like Gibby was mentioning earlier.

Graeme