Scarlet = No More Excuses
So I just got done watching The Curious Case of Benjamin Button. This film was shot primarliy on the Thomson Viper FilmStream Camera. In case you weren’t aware, the Viper just so happens to have 2/3″ sensor technology, similar to what the proposed Red Scarlet will contain. Now I don’t like getting caught up in all the hype, and I’m all about using the tools sitting right here in front of my face. However, I think we all need to take a step back, a deep breathe, and realize what’s about to take place this year.
For the first time in film HISTORY, prosumers will be able to afford a camera that can achieve the same quality seen in big budget feature films at an AFFORDABLE price. Think about this with me for a second… First came film, and for many years thousands of dollars needed to be spent on stock to shoot, process, transfer, etc. Then digital came along and started to change a lot of things. However one thing that has not dramatically changed within digital cinema is PRICE. Digital cinema cameras still cost thousands of dollars, sometimes hundreds of thousands of dollars. The Dalsa Origin, Red One, Panavision Genesis, Sony F-900, Sony F23, and SI 2K are all amazing cameras (all significantly cheaper to use than film), yet they’re all so far from a prosumers budget.
The HVX-200 and EX1 (containing 1/3″ and 1/2″ sensors respectively) as well as other prosumer cameras priced within Scarlet’s targeted range are great cameras. However, these prosumer cameras to date do not contain the dynamic range, depth of field, and compression needed to be taken seriously in a multi-million dollar Hollywood feature film. As a result, Scarlet will provide the FIRST prosumer camera capable of delivering not only a 2/3″ sensor starting at 2,500 dollars, but also 120fps, 3K resolution, RAW data to control in post (white balance, exposure, etc.), and interchangeable lenses all wrapped up into a modular/upgradeable package. Most of these additional features aren’t even included in cameras 10 times its price…
So are you beginning to see what is about to happen here? The camera is the last piece of the puzzle we are missing, yet it is the most critical tool needed inside a budget filmmakers toolkit. We have professional lights, audio, NLEs, Color Correction/VFX/3D apps all within our budget right now. Many films have already proven that Final Cut Studio is practically all you need in post to create a feature length film…
Soon enough there will be NO more excuses. Star Wars Episode II: Attack of the Clones was shot on a 2/3″ camera (F-900). If it’s good enough for Geroge Lucas, I think it’s good enough for me! 
Professionals and Prosumers will all be put onto an even playing field, something that has never happened in motion picture history! To me this is exciting. Creative minds who don’t have thousands to invest can produce work that is worthy of the big screen. Most importantly, it’s back to the BASICS. The Script, Audio, VFX, Color Correcting, Editing, Shooting, etc. These things never change and will become increasingly significant as expectations skyrocket. As a result, a camera is nothing more than a tool, and tools only have the potential to create magic when put in the RIGHT hands with the RIGHT experience, knowledge, and training. Afterall, several amazing films have already been created under a limited budget with prosumer cameras including “Once,” a recommendation given to me by Jason Wingrove. This just goes to show that every tool is worthless until YOU give it life!
Like I said, I hate to get caught up in all the hype but I think this is something to get excited about. This year is going to mark a crucial point in the history of our industry. Nevertheless, don’t wait on it, rely on it, or count on it ever happening. I have faith in Red but their slogan says it all, “Prices, Specifications, and Delivery Dates are subject to drastic changes. Count on it and you won’t be disappointed.” I’ll believe it all when I have one in my hands. Until then I’ll be using the tools I have right in front of me to produce the best work I possibly can.
Nevertheless, I think we need to appreciate what Red is doing behind the scenes and instead of asking for more and more, be grateful for what they are planning to give us sometime in 2009. Sure, having a FF35mm sensor would be nice… but take a look at Zodiac, Star Wars, Slumdog Millionaire, Speed Racer, Miami Vice, and Sin City, just to name a few films shot on 2/3″ sensors… Remember, you have NO excuses left after Scarlet is released!!! It’s going to be an incredible New Year with some incredible New Toys!!!
As always, please let me know if you have any questions, comments, or concerns!
-Tyler
“To give anything less than your best is to sacrifice the gift.” -Steve Prefontaine
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Joseph January 1st
Thanks Tyler for your military service! I appreciate it. Good article.
MB January 29th
Well, I think you miss a few points here. The sensor is not the issue, but the lenses. Yes, these high budget films were shot on 2/3 camera, but they also had very high-end lenses that no prosumer is going to be able to afford. They also had professional post-processing done on the footage, which is also out of the price range for a regular prosumer.
Now, you mentioned Final Cut. Yes, it’s true that you cut a film on Final Cut, but you can not currently output from Final Cut to actual film. Final Cut can work with HD footage well enough, but can not effectively handle the higher resolutions required for actual films. What most don’t know is that while a film is sometimes cut on Final Cut, it is often finished on a very high-end Avid online system. This is often times done after the film has been picked up for distribution.
So while Scarlet it will allow prosumers to make film-like products, actually competing in the film market will still be well out of range for the average individual.
Allan White March 6th
Scarlet would be amazing for rough field requirements due to its high res and small size. The fixed lens is a big downer, hopefully it’s sharp enough to do the sensor justice.
Allan White March 6th
MB brings up some good points. Check out http://rebelsguide.com/ for budget filmmaking approaches (yes, to film, at the end). Final Cut + Color.app + a high-end, ultrafast storage pile just might make 2k finishing a reality on the desktop.
RaiulBaztepo March 29th
Hello!
Very Interesting post! Thank you for such interesting resource!
PS: Sorry for my bad english, I’v just started to learn this language
See you!
Your, Raiul Baztepo
Mook Genius November 17th
I enjoyed your article. I just have a few concerns with your logic.
2/3″ sensors are great? Coming from film cameras, I want DOF. To me and many other cinematographers, film is about selective focus. Manipulating the DOF to tell a story. Motion picture FF35mm is definitely different than photographic FF35mm. Due to motion picture film running vertical through the camera and photographic 35mm running horizontal. Enter the cameras that can come close to film. RED, SI-2K, Thompson, SONY CineALTA, Canon. Canon?
Yes. With a 5DMkii you get VISTAVISION frame size with Canon glass! With a 7D you get almost RED ONE, Super35, frame size with 1080p24 & 720p60! Now I know that the dynamic range of the REDRaw codec is amazing in comparison to other digital cine cameras, although you practically have to have a supercomputer to edit the footage. I agree with MB, pro quality cine glass is astronomical in price. So, I pose this question. Would you buy a Ferrari because you could? And then put crappy discount tires on it? Yes the Scarlet seems to be breaking down the pro vs. prosumer barrier. At the moment I’ll take my Canon 5DMkii & 7D and take my larger CMOS sensors, Canon EOS lens mount, and 35mm DOF down the road.
Alain January 9th
Mook: selective focus is over used by most 5DMrkII owners. I shoot a lot with my 5D and I most often use an aperture of f5.6 to f8 unless I really need more light. Why? As soon as you go to f2.8 it is hard to maintain sharpness on the subject.
Having the subject eyes sharp is one thing, but if you want to add realism, you need to have the whole face and hears sharp! That is the mistake most HDSLR users do.
When filming, I generally use an aperture two stop higher than what I would have used for stills and it works great! So yes a 2/3 sensor could work in most cases.
JRC March 15th
Not to rain on your parade but I know the cinematographers and people that worked on half the films you praise about being shot on the 2/3 chip cameras. Zodiac was shot on a camera with very low compression rate that was what we call uncompressed and directly transferred and edited via on set technology more or less. Miami vice looked terrible and Slumdog was not shot on anything other than film and digital mixed. MOSTLY FILM! Sorry man but you shouldn’t believe everything you read. Right now it is very exciting that prosumers are able to buy cameras that are close to professional level cameras and its even more exciting that digital cameras are getting to be close to the way to go as far as look and budget is concerned. However its not coincidence that 95% of most feature films are still shot on 35mm FILM. In addition to what I started to go into with compression I have to also say MB couldn’t of technically put it better as far as the other tools it takes to really take it to the PRO level. lenses whether film or digital are very important and most non pros just never seem to get it. also post is done on AVIDS and not your start kit at home final cut all “the kids” have these days. take care
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