» Posts Tagged ‘scarletx’
RED Workflow: How to Get REDCINE-X and Premiere Pro Working Together Seamlessly
One thing I’ve been wondering about since getting a RED was what I was going to do about workflow. REDCINE-X Pro is a really nice (and free) color grading application. But you’re not going to do secondary color correction or really complicated masking/keying in it (yet). So how does one use it in conjunction with a NLE? Do you render out files, take them and edit them in Premiere Pro, and then color correct files that you’ve already rendered? Don’t you sort of lose the whole idea of a RAW workflow by doing that? Turns out there’s a better way. More »
I mentioned previously that I’d shot a micro-short to test out the RED SCARLET, and here it is. To put the camera through its paces, we wanted to use it in a real-world setting instead of shooting charts in a studio — but we also didn’t have the time or budget to put together a “real” short. What we set out to make (and what we ended up with) is something more than a series of test shots, and something less than a proper short. This was a no-budget, quick production on which everyone donated their time. Let me know what you think! More »
Sebastian at Cinema5D has released a short film shot on his Canon-mount SCARLET, and some very nice video overviews to go with it. Since you can’t get your hands on a RED camera at a normal camera shop — they only sell direct — these video overviews are very helpful. Here’s the short, which was shot in 3 hours on the Canon 24-70mm f2.8L lens (more details on the shoot here) and graded in DaVinci Resolve: More »
Phil Holland (who gave us some very handy RED crop factor and data rate sheets) shot the following tests on his Al Canon-mount RED SCARLET. Graded in REDCINE-X Pro and edited in Adobe Premiere Pro CS5.5, the tests include low light and 3K/48FPS tests. If you have a high-resolution monitor, you can even view them in 4K resolution (select “Original” if you’ve got the screen real estate): More »
It’s January 1st, and that means that the price of a RED camera has gone up. While I’ve noted this previously for anyone who was thinking about ordering one, there’s a second set of RED components that are getting a price increase: accessories. However, due partially to the fact that some of their planned accessories didn’t ship before the calendar flipped to the new year, RED has extended the date for when accessories will increase in price to March 1st. In the list below, the yellow prices should already be in effect, whereas the green “new” prices won’t go into effect until March. More »
I shared my first impressions of SCARLET-X #00072 but hadn’t yet had a chance to put the camera through its paces properly. I wanted to do a real-world shoot instead of a simple test, so I sketched out a one-page scenario and got together with DP Timur Civan, co-director Raafi Rivero, and actor Harlan Short to put together a rooftop short. Because of holiday commitments it might take us a bit of time to put together, so in the meantime here are some brief thoughts and images from the shoot: More »
Uh-oh. This site’s getting too RED-centric! Well, it’s not like there have been any big DSLR announcements lately that I’m missing (have there?). And don’t worry, help is on the way. I don’t make the news, I just report it, so here’s what’s new: RED has finally opened up ordering for the EPIC-X (until now, it was only available for RED ONE owners). Also, as previously mentioned, RED will be raising prices on a number of items starting January 1st — including the SCARLET. Here’s how the prices are changing. More »
I’ve had my RED SCARLET-X for about a week now, but am still waiting for some third party batteries which got unexpectedly delayed. Thankfully, Tonaci Tran (who was the first person to get his hands on a RED SCARLET-X and was also the first to post footage from it) has written up his first impressions, and shared feature film footage from the SCARLET. I also have some initial thoughts of my own based on running the camera on AC power. Here’s the new clip posted by Tonaci, and my own thoughts so far: More »
On Wednesday my RED SCARLET-X camera showed up at the door, serial number 00072. I posted a quick picture to Twitter but had nothing more to say about it, given I’m waiting for some necessary accessories (this is on me, not RED, given I ordered third party batteries and don’t have access to any PL glass at the minute). But just as I’m getting my RED, Philip Bloom has given up his. Here’s what happened: Philip had originally written a very balanced post about why to get — and why not to get — a RED SCARLET-X. REDUSER exploded with negative reactions, and Philip started receiving emails from a “higher up” at RED: More »
Continuing their head-to-head matchup, manuals for both the RED SCARLET-X and Canon C300 cameras have been released. Neither of these cameras are available widely yet — the SCARLET-X is just beginning to ship in volume (including my own), whereas the C300 has another month or so before it’s shipping. Therefore one of the ways to get a virtual hands-on with either camera is to RTFM. More »
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: More »
I’ve mentioned a dozen reasons I ordered a SCARLET-X in the past, but not all of those reasons apply to everyone. Far from it. For documentary filmmakers and low-budget or reality TV, in fact, I think the RED would present a lot more workflow obstacles than other (non 4K, non RAW) cameras. Beyond this, RED has a reputation for shipping “beta” cameras, and EPIC owner Philip Bloom has posted about just this: More »
While many of us who ordered SCARLET-Xs right away have not yet been contacted about our orders, at least one SCARLET-X is in the wild, which means RED kept their promise of shipping on November 17th — almost. SCARLET-X brings with it an important feature, not just for SCARLET cameras but also for EPICs: playback. Here it is in action on the very first SCARLET-X: More »
RED has been cranking out new beta versions of their ingest/grading software REDCINE-X PRO seemingly every week or so, and you can bet it will find a lot of new users thanks to the impending release of their SCARLET-X camera (which is supposed to start shipping this Thursday). REDCINE-X PRO is free — though you need a very expensive piece of hardware to use it — so here is a great tutorial from Dan Kanes, which demonstrates the flexibility of the RAW workflow: More »
This is a guest post by Matthew Duclos of Duclos Lenses.
There’s no doubt that all of the new cameras announced in the past couple years are very capable in their own field and will prove to produce many, many beautiful images. Regardless of your camera choice, everyone is going to need to find a lens that fits their style and fulfills their needs for a range of productions. Whether you’re shooting a film school project or shooting a feature film, there is a balance to lensing your imagers. More »
Anyone considering the RED SCARLET-X camera should check out this great thread at REDUSER by Phil Holland, which takes a look at the crop factors and datarates of the SCARLET-X. Below is a great visualization of the various crop factors; keep in mind the SCARLET-X shoots in a slightly “windowed” 4K, so your lenses will take on a slightly narrower field of view than the true 5K EPIC: More »
Events transpired quickly during Canon and RED’s dual announcements on Thursday night, so now that the dust has settled, what are people saying about the RED SCARLET-X (left) and Canon EOS C300 (right), other than the fact that they’re basically the same price? More »
In a post about the new RED SCARLET-X, I mentioned that I ordered the camera myself. First of all, some context: I’ve been a “professional” in video (since apparently we need to distinguish between professional and amateur) since I was hired as a video editor in 1999, at the age of 18. Since then, save my four year stint in college, I’ve made my living in and around the industry, shooting, editing, directing, producing, designing, etc. for hire (here’s a resume). Yet I’ve never owned a “professional” camera. So I got all excited on Twitter about the prospect of finally being able to own and operate a camera of the SCARLET-X’s caliber, after twelve years of working my way up to this point. But I’ve been surprised at the number of people who have left comments questioning this decision, accusing me of misspending the Man-child Kickstarter funds, or writing critiques with me at the center. So here are a dozen points of clarification: More »
A: They’re basically the same. More »
Since RED’s announcement of their world-beating (and certainly Canon-beating) SCARLET X, their website has been down sporadically, but I was able to grab the full specification sheet from their website during a moment of uptime. First of all, I want to say that yes, you can shoot a beautiful film on the new Canon C300 — in fact, Vincent Laforet already did — so, taken in historical context there is nothing wrong with Canon’s new camera. A few years ago it would’ve been amazing. But it’s not a few years ago, and in fact just a few hours after Canon launched their first foray into the professional motion picture arena, they were upstaged by a startup named RED (you could also argue that the Sony F3 is also a superior option). While the Canon will be better in certain areas — low light performance, perhaps? — the SCARLET X starts at half the price of the Canon. Yes, you’ll need to add some accessories, but looking at these specs, I couldn’t help but order one. More »
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