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|Posted: Tue Nov 18, 2008 3:39 pm Post subject: SCARLET FAQ from RED DIGITAL CINEMA
Jon Sagud at RED recently released this information on the new SCARLET design to help answer questions that may have arisen from the announcements made on Nov. 13th and Dec. 3rd:
"In April of '08 we stunned the world with the announcement of a 3K Scarlet, a camera with a fixed 8X T2.8 zoom lens, a 2/3" CMOS sensor and offering RAW 3K recording on standard Compact Flash media for $3,000. Scarlet was an industry changer, competing in quality with other 2/3" systems costing 20 times as much and more. The reaction to Scarlet, universally, was with dropped jaw, yet, as with all things, there were those that wished for something more, or something different. In the months following the announcement, RED's development team analyzed thousands of use case scenarios and we listened to the feedback from Scarletuser and those individuals that championed some features, while criticizing others. It became apparent that RED was designing a "Camera for the Age" and no one camera was going to satisfy everyone. Many loved the idea of a single all-in-one camera, the ideal B-Roll camera, the perfect personal cinema camera. Others wanted more flexibility, interchangeable lenses, more media options, and even more resolution. From the very beginning, RED has challenged convention, both in product and execution, and has always stated that "specifications and delivery dates are subject to change", a credo that has allowed us to be in constant motion and able to respond instantly to consumer wants.
So we looked at the requests, we looked at what we had learned in the development process and we decided that the approach had to be revolutionary, even by RED standards. It would mean pushing back the schedule. It would mean starting with a clean sheet of paper. It would mean taking on the largest camera project in history. This would not follow any previous program. This would not just be a motion camera, nor would it just be a still camera. It would target neither discipline exclusively. It would not be the industry cliché of a "hybrid", which never seems to excel at either task. It would be something entirely different. It would plot a new course for what a "camera" should be. And as the Scarlet Program progressed, it became evident that it should be integrated into the Epic Program. Both programs would share accessories, components and workflow. One System with almost infinite options. Multiple Personalities.
So, here are the facts for Scarlet. While the concept is revolutionary and the options are limitless, the scope and capability of the system can be overwhelming. The intent of the following is to hopefully demystify Scarlet and present a clear picture of the potential for the most technically advanced camera of all time."
"The Scarlet family of cameras is wide ranging, offering a variety of capabilities suited to individual needs and price points. From a 2/3" cinema camera aimed at all video cameras on the market, at any price, to full featured DSMC cameras that are as much at home in the still world as they are in the cinema world. Scarlet's 4 brains are as follows:
Scarlet 3K 2/3" Fixed 8X T2.4 zoom lens - a physically larger Scarlet body to accommodate the internal fixed lens, this camera is the evolution of the Scarlet announced at NAB '08. Full featured and designed to take on all video competition, Scarlet 2/3 8X can fly light and hand held or be integrated into any professional configuration by virtue of complete compatibility with all RED DSMC accessories. The basic "Brain" with lens will be priced at $3K. The complete kit, with power, finder and media module is targeted at $3.75K.
Scarlet 3K 2/3" Body Only - 2/3" Mysterium-X sensor, 120 fps (150 fps burst) - sharing specs with Scarlet Fixed 8X in a smaller body. Fully compatible with all RED DSMC accessories, the 2/3" camera outperforms cameras 20 times its price. Able to accept a wide range of lens mounts, including mini-RED Primes, B4, C mount, PL, 35mm and more, depending on the interchangeable mount selected, the range of applications are endless. This is the camera that many asked for when the fixed lens Scarlet 2/3" was announced. We listened and we designed it for those that asked. For $2.5K.
Scarlet 5K S35 Body Only - Super 35, 30mm x 15mm, 5.4µm pixel pitch, 13.8MP Mysterium-X sensor. This is entry level into DSMC. An extraordinary camera that will revolutionize digital cinema, recording 5K resolution on a Mysterium-X sensor at REDCODE 80, shooting at 1-30 fps at 5K, 4K, QuadHD and Full Frame 1080P, as well as high speed 1-72 fps at 2K, this $7K camera will be right at home on the feature film set, as well as change the concept of what a still camera can do. With burst rates up to 72 fps at full 13.8MP res, "capturing the moment" will never be the same again.
Scarlet 6K FF35 Body Only - Full Frame 35mm, 36mm x 24mm, 6.0µm pixel pitch, 24MP Mysterium Monstro sensor. DSMC in full glory. A full frame cinema camera, shooting an unprecedented 6K motion image at REDCODE 100, shooting at the same frame rates as Scarlet 5K S35 from 6K down to Full Frame 1080P, while offering a mind boggling still burst rate up to 72 fps with 24MP full frame resolution. Using special RED Electronic FF35 lenses as well as legacy Canon and Nikon lenses, with the appropriate lens mount, Scarlet FF35 becomes the most capable and universal camera ever built for the price, an amazing $9.75K. No compromise in imaging quality. No line skipping, no games. Professional still. 6K cinema."
Scarlet's Modular Design allows for an endless number of potential configurations . Choose the brain that best addresses the application, from 2/3" 3K to FF35 6K, then build your camera the way you want it.
"Add a RED DSMC I/O Module for XLR inputs, Timecode, Sync, HD-SDI, Gigabit Ethernet and data ports, a RED DSMC Battery Module for uninterrupted recording, a REDhandle for ergonomics and power, a RED Shoulder mount, a BombEVF or LCD (every RED finder works with Scarlet), or any number of lens mounts and media modules; the list is endless. RED DSMC Modular system shares accessories between Scarlet and Epic, which will also be compatible with the majority of RED One accessories. RED development will continue to advance the capabilities of Scarlet, focusing on new and revolutionary technologies. Our commitment to 3D is huge and one of the driving forces behind Scarlet's and EPIC's design. Never again will you have to sell your camera to get the latest capabilities or features. At the heart of the Scarlet program's modularity is the ability to switch out any component part for upgraded, improved or optional future advance.
1,048,576 Possibilities? Over a million different cameras?
With a total of eight camera bodies representing the Scarlet and EPIC families and a shared 17 major accessory choices, the number of camera combinations is staggering. The math works out like this: Each accessory is either chosen or not, which is 2 to the 17th (number of accessories) times the number of "brains", or camera bodies, available. That's 8 times 2 to the 17th, or 1,048,576. Now, arguments can be made that introducing the two body "Stereo" state will increase this number to closer to a billion, and counting every mounting accessory will bump the accessory number up, but we'll stick to over a million combinations for now!"
DSMC is defined as a camera that records RAW still and motion files.
"Scarlet S35 and FF35 DSMC are not still cameras in the traditional sense, nor are they video cameras. They cannot be compared to anything that exists today. These cameras begin a new era in what a camera is and what it can do. For full motion, these cameras offer 5K and 6K resolution. That's 6 times and 10 times, respectively, the resolution of 1080P HD video. Still frame capture rate is far beyond anything that exists on the market today and forever eliminates the vibration of a moving mirror and the limitations of a mechanical shutter. These cameras will change the process. Scarlet and Epic will redefine what a camera is.
There are both physical and performance differences between Scarlet and Epic, but it is important to remember that they are two parts of a single family, sharing a wide range of modular accessories. Scarlet is a cast body as opposed to hand machined. Lens mounts available for Scarlet include C Mount, B4, mini-RED, RED Mount, PL mount and 35mm still lens mount (Nikon/Canon). Epic provides a more specialized cooling technology to deal with faster frame rates and higher data rates. What defines the performance differences between Scarlet and Epic can be described largely in terms of these rates. Scarlet's compression algorithms run from REDCODE 42 to REDCODE 100. Epic's compression algorithms are from REDCODE 225 to REDCODE 500, allowing much faster frame rates. While the 2/3" sensor is unique to Scarlet and offers as high as a 120 fps rate (with 150 fps burst), Scarlet and Epic share similarly sized S35 and FF35 sensors. Scarlet's maximum motion frame rate for its S35 and FF35 sensors is 30 fps, while Epic takes those sensors up to 100 fps. For a moment, think about that. In a world where a high speed frame rate for a full frame sensor is 5 fps, Scarlet runs at 30 fps and Epic at 100 fps. This changes forever the way a sports, fashion, wildlife or nature photographer will capture a moment in time. The Epic family adds to the sensor choices an incredible 9K 65MP 645 Monstro that runs up to 50 fps. 50 Frames Per Second on a 65MP sensor! If that isn't crazy enough, Epic will offer a 261MP 28K Wide Format Monstro sensor that runs up to 25 fps., in a category that brags about 1 exposure per second . Game changing. Revolutionary. Disruptive. RED."
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