Description image

Here's the First Footage from a RED SCARLET-X.

11.23.11 @ 10:29PM Tags : , , ,

Plenty of people have asked about the wisdom behind ordering a camera sight unseen. But the RED SCARLET-X is essentially the same camera as the existing RED EPIC, with the APS-C sensor crop of a RED ONE (virtually the same as a Canon 7D) instead of the larger APS-H size of the 5K EPIC. Still, there’s been a clamor to see the first RED SCARLET-X footage, and Tonaci Tran has just done the honors. Here are the first two three clips:

<embed src="" type="application/x-shockwave-flash" width="400" height="300"></embed>

<embed src="" type="application/x-shockwave-flash" width="400" height="300"></embed>

<embed src="" type="application/x-shockwave-flash" width="400" height="300"></embed>

Before you judge the camera based on a few 30 second clips, look at the Zacuto shootout I re-posted earlier today — every single one of those cameras, RED ONE and HDSLRs included, are capable of making beautiful images. DSLRs, in fact, are often better if you want a “just pick it up and get nice images right away” kind of camera. The RED’s workflow is less about giving you a pretty image by default as it is about giving you maximum flexibility so you can dial in your preferred look during post-production. The RAW source files could be graded to look entirely different from what you see above.

Ultimately, cameras don’t make good movies, people do. So if you’re unimpressed by these modest clips, keep in mind that the SCARLET-X is, technically speaking, a better camera (and a cheaper camera) than the RED ONE MX that this was shot on (better to watch the HD quicktime):

Is RED EPIC is the best camera ever, or does The Girl with the Dragon Tattoo have the best cinematography ever? That’s not what I’m saying. Do I think the SCARLET-X is the best camera for my purposes and for my immediate future, though? Yes, and that’s why I ordered one: to make a movie. The debates online and backlash over the camera have gotten a bit out of hand. Every project has different needs. Make an educated decision, and then make the best damn movie you can with what you’ve got…


We’re all here for the same reason: to better ourselves as writers, directors, cinematographers, producers, photographers... whatever our creative pursuit. Criticism is valuable as long as it is constructive, but personal attacks are grounds for deletion; you don't have to agree with us to learn something. We’re all here to help each other, so thank you for adding to the conversation!

Description image 54 COMMENTS

  • Great stuff – there are a bunch of R3D files on the vimeo page to play with as well. Cant wait for the avalanche of scarlet R3D files and hopefully soon C300 source files to have a play with.

  • Wow. What a waste of red footage. Those top clips look like something that could’ve come from a canon t2i. Pathetic. Almost as pathetic as this idiot who basically is using his red as a flip video camera.
    That being said, I cannot wait to see what this little scarlet can really pump out!

    • What a jackass. How dare he spend what little free time he had after getting his camera shooting something quick around where he was after finishing some pickups for another movie.

      He should have hired actors, a crew, wrote a script and spent a bunch of money on a professional post house so he could post something that would please the almighty Lord NATE, slayer of beautiful women and master of cinema.

      Get over yourself. He didn’t have to put up anything.

    • @Nate, I also wasn’t blown away by the footage, but I’m not sure why. Any chance you could break it down a little as to why you didn’t like it? For us noobs it’s great to learn from more experienced film-makers as to what makes something good or not. Could you also post some links to your films – I would love to see a base-line/context for the comments. Thanks in advance.

  • This footage does nothing for me. I don’t shoot landscapes or flowers but I do appreciate what little Tonaci has done so far. I find it odd that he is the only one posting footage a week after the advertised “ship date”.

  • Nice footage…not as good as my dvx-100 but these Reds are still improving…they’ll get there one day.

  • I always wonder why good films from the rest of the world immediatly get remade in the US. That’s a serious question: Why? Do americans not read subtitles? Do films from the rest of the world look so different that the american audience won’t watch them?

    • No, Americans do not read subtitles. I’m not defending remakes, but in the case of TGWTDT, I would be shocked if David Fincher’s version isn’t a better film than Niels Arden Oplev’s. My $0.02, having seen the first.

      • I doubt it. The original doesn’t have to contend with the compromises and market forces the American version would have to.

        • Yes, those things have certainly prevented Fincher from ever making anything good… (not).

          • Kevin Fairchild on 11.24.11 @ 12:18PM

            I loved the original TGWTDT and look forward to the remake as well since Fincher is doing it. Let Me In was good but I absolutely loved Let the Right One In.

            Americans generally don’t watch subtitled films because they don’t have to. The English-speaking movie-going audience is a powerful (read:large) entity. Hollywood will find the content–whether it’s a film in another language, a novel, a magazine article or a comic book (even a video game??)–and they will bring it to that large built-in audience. People who read novels will still read novels, comic book readers will still read comic books, adventurous cinephiles will still seek out the cream of subtitled films.

            This is where I cringe at the snobby Hollywood bashers who will say nothing should be remade because Hollywood is a mass-production juggernaut blah blah etc. Sure, it’s ridiculous that even Spider-man(!!!!!!!!) is being remade, but those embarrassments are due to the caretakers of the movie rights to each individual property. Some guard against their property being subject to wanton violation (see:J.K. Rowling) and we get great cinema from it, while others have ridiculously if not recklessly savaged otherwise great properties (see:The League of Extraordinary Gentlemen).

            Personally, if I had a property that Hollywood came calling about, sure, I’d allow Terry Malick to handle it!

          • Let’s wait for the reviews Koo.

      • I think Fincher decided to remake it for one simple reason 5 letter word. MONEY. There’s no artistic value in an American director remaking a European film, with laughable fake Swedish accents and TV actor Daniel Craig being Bond but without a gun. It’s amazing how Fincher inspired me to want to be a director with The Game, Se7en and Fight Club (brilliant, brilliant films) and then everything he’s made since has made me want to be anything but the director he’s become. Still the music sounds nice. Virtually shot for shot from the Swedish version with some very ‘subtle’ grading in there. I’ll pass!

    • Good question.

      In my opinion main-stream audiences don’t enjoy subtitled or foreign films. This is not only true of the US, but also in South Africa (where I’m from). The art house cinemas are largely empty, while the cinemas playing the latest block-buster films are jam packed. I don’t think it’s an American thing I think it’s a main-stream thing.

      There are many instances where a remake is not warranted, for example Death at a Funeral. It made no sense to me why they would remake a perfectly good comedy for the US audience. In that case there was no language barrier either. Perhaps they figured the it’d wouldn’t be marketable without some familiar names.

      However, in the case of TGWTDT, with Fincher’s talent, the incredible source material from Larsson and the budget they have thrown at this, it’s a complete no-brainer to remake it.

      I’m a complete Fincher fanboy so I’m biased, but seriously the guy who made Fight Club, Se7en and Social Network is making TGWTDT… I’ll pay to see that any day.

      Speaking of remakes I’m a little worried about Spike Lee’s upcoming remake of Oldboy… as talented as Mr Lee is, Oldboy is sacred ground!

      • It’s an American BUYER thing. I worked in distribution for a few years, If the voice sounds foreign they barely payed it any mind, it was just one more obstacle that made acquisitions turn off your screener. Send them the same screener re-doing the VO with an american voice and they’ll actually take a look. And vice-versa for European markets. I’m in the middle of versioning the series I am on to have British VO for the european market.

        With all the remake flops you’d think they’d catch on that people like to see the original better. What’s the last successful foreign remake? The Ring???

        • Jonathon Sendall on 11.25.11 @ 2:36PM

          To MRH. Yes, I agree. When I worked in development we tried to pick up the remake rights to Insomnia. We didn’t realise that Nolan was after it at the same time and he eventually attached Pacino of course. I liked both films and I could see why one would want to make an English speaking version as it just sells to a large market. Nothing wrong with that.

    • re’why good films from the rest of the world immediatley get remade in the US’. So true! And rarely is the remake better! I’m guessing its purely for economic reasons
      100s of examples but 3 recent spring to mind
      Vanilla Sky-remake of the arguable better Spanish film ‘Open Your Eyes’.
      The Next Three Days remake of the 2008 French film Pour Elle (Anything for Her)
      The Vanishing remake of the also arguably better 1988 Dutch version

    • Other countries do the same, i know a guy who just production coordinated a chinese version of Sideways in Napa (instead of Santa Barbara), and there was another chinese release of a classic-style remake of Blood Simple. I don’t think it is only our culture that prefer movies in our native language.

  • Not particularly helpful footage if you’re on the fence about buying one, but how could it be? It’s compressed for web, and purely using natural light at that. If you’re unsure of the image quality you’ll be getting, go watch a feature shot on RED MX, or watch the Zacuto tests, or download some clips, or go rent a RED MX (I know, pricey)…

    I for one can’t wait for the Scarlet, I’ve shot plenty on the MX, but I personally own a 7d. Working with the footage in post is actually what I’m most excited for, it’ll be a joy to have so much more color information and detail in the highlights/shadows compared to a DSLR.

    • It’s the size of RAW files thats scaring me a bit Stu says over on prolost Canon did an f-you with its pricing on the C300 to all the dslr users who introduced them to hollywood…but I am hopeful that some of the C300 features (true HD res, amazing low light ability, etc) will trickle down to a more affordable DSLR within the next 6-12 months.

      • Sounds like a solid 1080p camera is more suited for you, I’m also looking forward to seeing what Canon can cram into the next DSLR. My only concern would be how they could possibly address some of the big DSLR video-issues (moire, excessive rolling-shutter, 8-bit codec) and keep it sized & priced like a DSLR.

        • Good call Agent55, i swear that everyone thinks it is easy to come out with a 1080p interchangable lens moire/alias free 12-bit s35 image that shoots up to 96fps in a RAW fortmat for like $2k. Get real people, those features cost real cash.

  • Alex Montoya on 11.24.11 @ 12:56PM

    The REDs are great cameras, you just have to know how to use them..

    Here’s a little example, and that was the original sensor!

  • Canon Europe has already dropped the C300 price to €12k, or $16k. Online retailers will probably price it lower. The $20k figure was just to smoke out RED, which had already announced its intentions to release Scarlet on the same day, and everyone knows the one who names a price first, loses. Usually. Unless you deliberately name a price to find your competition’s price, so you can drop down and compete. You can’t even use a Scarlet for less than $16k due to all the necessary proprietary add ons. We now have an effective price parity, at least in Europe, with the US to follow and probably even cheaper. Canon C300 footage displays AMAZING dynamic range and will smoke Scarlet in low light. And if you shoot it right to begin with, who needs all that latitude in post? What ever happened to the CRAFT of cinematography?

  • MARK GEORGEFF on 11.25.11 @ 3:19PM

    Do any of you Fincher bashers have any friggin idea of how much power the suits – execs have over him?
    Fincher doesn’t have final cut – control on any of his work, not even when he made those brilliant movies (not films, big difference) SEVEN, THE GAME and FIGHT CLUB.
    The reason Malick has final cut, etc., is that he has more than a handful of artistic supporters behind him all the way, who also happen to be killers at the exec level, because they also happen to come up with him when he started his great work in the 70s. There’s a very good chance Fincher didn’t even have final say in casting CRAIG in THE GIRL WITH THE DRAGON TATTOO. He makes the movies he makes because he loves those specific stories, and realizes they are of a specific medium called film. I’m not a big fan of SOCIAL NETWORK, because it doesn’t work as a movie for me. But, THE GIRL…in Fincher’s remake? It’ll rock. He’s doing his take, his vision — very personal — on a story. I have no problem watching foreign movies with subtitles…as long as the director is creating his vision successfully. Because afterall, it’s about the image driving the story…and not the dialogue.

    • So… in the end your saying that imagery takes precedence over the (dialogue) story? Cause that’s what I’m getting you mean.

  • you guys are all a bunch of douches, who cares about any of this crap, go outside and play with your cameras and make your own movies instead of talking about other peoples films.

  • Tonaci posted a medium close up still in the recon section of reduser, skin tone look extremely accurate, c300 has some serious competiton on it’s selling point

  • Absolutely… bland. Nothing special here, just stuff that looks a lot like what I shoot with my JVC HM100 hooked up to my Ninja. And my setup doesn’t have any bugs ! Can’t wait for the Canon 4K.

  • flat flat flat flat flat on 11.28.11 @ 10:26AM

    Why does so much of the footage released from Red camera’s looks so DAMN FLAT!!!!!! Looks like a gray has been uniformly applied, or the curves flattened. Really unimpressive, and kind of distressing.

    What is up? Tonaci must not know how to use the camera or color grade Red footage correctly? He intentionally “went for the exaggerated colors on these 6 short clips”

  • add the skin tones video he posted

  • New Scarlet X footage by Tonaci Tran (now with more faces!!!)

  • What in Gods name is all this GREEN crap, is this now what we should call art, like the shaky camera moves.

  • RED Scarlet overpriced. RED has a history of making claims then NOT following through, the scarlet could cost 3k easy but instead they decided to RApe the filmmaking community by charging 8K just for the body! which is useless without another 7k worth of gear. RED is a JOKE!

  • What a data of un-ambiguity and preserveness of
    precious know-how concerning unexpected feelings.