RED SCARLET ANNOUNCEMENT – NOV 30th
Ok, so RED has finally made an announcement about the 2/3″ Scarlet system and the s35 Scarlet. There are plenty of reason we should be excited, and plenty of reasons why you SHOULD NOT WAIT to shoot your film. I can’t decide for you, nor should I. Only you know what you need. Only you can decide. I can only talk about what works for me.
EXCITED I AM
Guys, we’re getting REDCODE 100 for $4750 (fixed lens) or $2750 (maybe more like $6000+ with all the “extras” you need in order to shoot properly) for a fraction of the price of what a true digital cinema camera typically costs. If you have worked with RED footage, you know that the RAW format is awesome for color correction. It would be great to have this accessible to us on a cheap Scarlet.
I don’t want to hear people complaining about the 2/3″ imager. People in Hollywood, even Oscar winners, have been shooting on 2/3″ systems since the beginning of this (soon to be last) decade. You can still achieve shallow depth of field with these systems with a little trickery. Most people overdo this stuff anyways. Obviously, for indies, this option is great, but some Hollywood or “pro” people may hate the 2/3″ size. That’s fine, because when you’re at that level, you can just get a RED ONE (remember that cam?) or any other expensive cam and shoot with that. The Scarlet is not so much targeted toward those people as it is for lower budget indie films. Not for a main cam anyways – B cam, different story.
So basically, what I’m excited about is the REDCODE 100/RAW format and the 3K image size / higher rez. Guys, if you’ve seen Sin City in theaters (digitally projected) you know that 1080p is more than enough (in my opinion) for a great image so 3K is perfectly fine since we’ll be getting high rez, plus a bigger frame size for VFX work. I don’t see a reason to whine about no 4K. 3K is more than I’ll likely ever need, even if a film of mine has a theatrical release. This is all assuming that we’re getting all/most of that resolution instead of the size without the resolution, like the Panasonic HVX200.
So aside from the RAW format and high rez, plus proper monitoring solutions, there’s not much else for me to get excited over. Oh wait, I forgot sync sound 🙂
Just remember who this camera is geared towards. You most likely wouldn’t shoot a typical Hollywood feature on a Scarlet, and whatever “shortcomings” (and I use that word VERY LIGHTLY) that the Scarlet has, I’ll deal with. C’mon guys, we’re indie filmmakers! We’re used to that!
ON THE OTHER HAND, BLAH
I’m NOT dissing RED here, trust me. What they’re doing is amazing. But guys, at the level us indies are at, we don’t need 6, 12, 18, 123432K footage in order to make a good film. Get your grimy little hands on a Canon 7D, a 5D, or the 1D MK4 if you’re willing to spend that much, and GO OUT AND MAKE A MOVIE NOW! Why wait until next summer. If I waited, I would not have the collection of films I have now that I’m currently showing off in order to get MORE WORK and MORE OPPORTUNITIES. Get a 7D/5D/HMC150/EX1, etc. if you have the money and start shooting NOW. The Summer 2010 date on the Scarlet is temporary. Why risk important opportunities NOW?
Brian Ramage shot his film on an HMC150 and he’s (as far as I know) gotten interest from some big names (Brian, if you’re reading this and want me to link to your film, EMAIL or TWEET me with the link and I’ll link it up). I’ve shot stuff on my DVX that’s done some decent things and STILL continues to get work/investors interested in my future projects. I suggest you do the same!
I’m not going to discuss the tech stuff here because you can hit up any message board and read people’s arguments with each other on why one camera is better than another. I suggest that after learning a camera’s shortcomings, make your decision and go shoot. There are plenty of cameras out there that will give you amazing pictures, dare I say Hollywood quality even, if you handle them properly and skillfully. Don’t get drawn in to all that technical debate over which camera resolves 11.5 lines more resolution than the next.
Like I said, if you can’t get one of the current cameras to make your non-techy friends go, “dude, it looks like a real movie,” then don’t expect a “real movie” look from a Scarlet, or even a Panavision Genesis. Leave the numbers and theories to the techs and scientists out there. That’s not you. That’s not your job.
Your job is to have an engaging story and to get enough people to be engaged in your movie so much, that they don’t care about the tech shit or if you edited on Sony Vegas or if you shot on a Sony 1/3″ HD camera.
“It has set the record as the most profitable independent film ever made having earned over $100 million with a production budget of $15,000.”The proof is out there!
Your audience doesn’t care about the tech. Why should you?
You’re a filmmaker. Now go out and make a film.
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