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Author Topic: Cheap Scarlet  (Read 4858 times)
billy
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« Reply #20 on: October 20, 2012, 10:41:00 AM »
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There is a little youtube logo next to them with something written in german

it must say 'or watch this on youtube'

I thought it might say 'youtube premium' or something!

I think having your own file really really helps - by not subjecting to a youtube/vimeo recompression - I will try

I am confused, are you guys talking about uploading your files straight to your website and not using an embedded link from you/tube/vimeo? or is there a way to still use you tube/vimeo but with some new way?
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Morgan_Moore
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« Reply #21 on: October 20, 2012, 10:54:31 AM »
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It seems he does the former - but has a logo next to it in german which might say 'or click here to watch on youtube' or suchlike

bottom line is the page is clean and the vid has nice colours and not too much compression Smiley

http://www.shoots.de/Stoehrenfried-2012.347.0.html

S
« Last Edit: October 20, 2012, 10:57:48 AM by Morgan_Moore » Logged

Sam Morgan Moore Cornwall
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Bern Caughey
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« Reply #22 on: October 20, 2012, 12:13:51 PM »
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Appears RED may have sold all the discount Scarlets.

The link now leads to a page that states, "RED.COM COULDN'T FIND THE PAGE YOU REQUESTED".
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Morgan_Moore
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« Reply #23 on: October 20, 2012, 12:53:01 PM »
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Yep.

Im gonna wait till Sony announce their thing

Just found out nikon g supported on scarlet - that is a boon to me

the deal was good but getting the right thing is more intelligent than saving a few G

I want a multi year camera at that pricepoint.

S

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Sam Morgan Moore Cornwall
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ftbt
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« Reply #24 on: October 20, 2012, 04:55:49 PM »
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Just returned from three (3) weeks in Northern Italy shooting "slow food movement" events and the white truffle festival in Alba with our Scarlet. Took six (6) REDVOLTS and found them to be sufficient for the kind of shooting we did. (If they are fully charged you can get about 18-20 minutes per battery.) With the new Nikon mount and a pair of Nikon zooms, 14-24 & 24-70, we were quite pleased with what we got. We shot dual audio with a little Zoom H1 mounted on a Rycote shock mount attached to a cold shoe on the WC top handle. Not a substitute for a professional sound guy, but definitely usable audio. Here's a frame grab of a sunrise from our base station in the village of Annunziata, near La Morra:

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bcooter
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« Reply #25 on: October 21, 2012, 04:04:37 AM »
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Im gonna wait till Sony announce their thing

S




Morgan,

I'm not pushing RED or Sony because I own both, paid normal price for both, so I really don't have a dog in this hunt.

Still, it seems to me that Sony lumps their cameras into a series of price points and intentional upgrade cycles.

Either a fs100, (inexpensive), fs700 (medium inexpensive), F3 (almost expensive), srw, (very expensive) and since they have this and their eng territory to protect, they probably will always hobble their less expensive cameras like the F3 on down.

Not that RED doesn't do some of that with the Epic and Scarlet, given the fact their virtually the same cameras, minus the processing power to go to higher frame rates without cropping, but overall unless you must have higher frame rates, there is little difference between the two cameras given the fact you can buy 3 Scarlets for the price of an Epic.

Anyway I think that since you work with limited crew, having a real raw file, would go a long way to freeing up your on set workflow.

It's probably worth renting one and trying it.

And BTW:  RED has Ridley Scott endorsing their cameras.   I don't think Ridley is doing it for the free rental.*

IMO

BC


*But then again Ridley is also a producer so maybe he is doing it for the free rental. (insert smiley face here, because nobody wants to make Mr. Scott angry).
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Morgan_Moore
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« Reply #26 on: October 21, 2012, 01:31:00 PM »
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Sony will either do a C300/500 killer

Or they wont

I think they are seriously pissed that the C300 has the 'BBC ticket' and the F3 does not

If they don't do a 'killer' then its clear to me - no more half assed cams

I like Red which is basically CPU power / sensor area = max frames per second

Seems honest to me unlike video compression and onboard downrezzing which I am still seriously unconvinced by.. all of it Smiley

The Scarlet still seems to have a mild 'clunk' that I dont like (like no ND - Not a problem to Ridley)

We used to both shoot overpriced  clunkers (for stills) , Contax/Hasselblad, and a certain point CaNikon got it right - 1D or whatever

That time will come .. but when..  seems worth waiting a week?

Overall Sony are a strange bunch - I dont want to like them (for some irrational reason) but Ive ended up with the EX1 and FS100 which I feel are total winners in their class

The only dog I have in the fight is 15 years of nikon glass which fits everything anyway

And yes I feel as a OMB I need a fatter codec than the truck of HMI brigade!

S

« Last Edit: October 21, 2012, 01:39:30 PM by Morgan_Moore » Logged

Sam Morgan Moore Cornwall
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bcooter
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« Reply #27 on: October 21, 2012, 02:19:11 PM »
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I stil shoot the overpriced clunker for stills, my phase(s) and Contax(s), but it has now become the paid for underpriced system that has lasted 6 years, probably another 6.

I also shoot the R1's the majority of the time compared to the Scarlet for a lot of reasons.  I don't find the weight of 3 to 5 lbs that much more, the genlock if I need it is an inexpensive ad on, it takes Nikon and PL lenses easily and most of all it's as analog as a digital cinema camera can get.

Also it's proven.  My R1's have had no issues whatsoever, so when it comes to saving a few pounds I'll take no issues vs. a work in progress any day.

The thing I don't like about the R1 is there is no autofocus capability, but then again the Scarlet/Epic autofocus is barely worth it unless your shooting something locked down and static.

Bottom line is I'll bet I have the R1's for a number of years, the Scarlet I'm not that sure about.

Everybody works differently every one has different needs, but the R1 shoots a pro rezz proxy file, where the Scarlet takes a $13,000 Meizler add  on to get genlock, proxy files and sound sampling.  The Meizler does more than just that, including Ipad support and the future ability to send a video and audio signal to an ipad, but it's expensive and changes the form factor of the Scarlet to almost that of an R1.  The Meizler also takes a different sized ssd card which when it's all said and done will raise the price to 15 grand.  Add that to a 14 grand Scarlet package and your at $30,000 minimum before you stick on glass.

So the R-1's especially used are a bargain.

As far as Sony, I have the Fs100, use it for run and gun, kick myself everytime I do because color grading is difficult.  I looked at the fs700 and didn't give it a thought because the 4k raw is a to come addition.  

The Canons I have absolutely zero interest in.  I know some people like them, but a 8 bit file is much different than a 14 bit file and until you've shot a RED next to any camera, still or motion and seen how much detail it holds across a broad range, it's difficult to explain.

Regardless, I find the way people view RED in the imaging world as strange.  10 years ago people would have killed for any RED camera, today RED is a very polarizing company.  You either love them or hate them, with few in between.

IMO

BC
« Last Edit: October 21, 2012, 02:23:23 PM by bcooter » Logged
Morgan_Moore
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« Reply #28 on: October 21, 2012, 03:09:14 PM »
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All so true

Any camera that last 5 years is under priced.
I still get some used from by blad and get blown away by the 2005 file!
But the 5d2 is effortless to use (stills) - I wouldn't actually buy an H1 today.

Red and phase give 100%, Im going for 80% at 50% cost (like the 5d for stills)

I hear you on the Red thing - You like em - our other poster likes em, everyone likes them.. apart from film makers.. who are clueless in post because they have never done any!

S
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Sam Morgan Moore Cornwall
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