RED announces the “new” Scarlet X camera

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The cinema madness continues today - after Lomography and Canon, RED also announced their "new" Scarlet X camera. Red's website is now back online apparently under attack, so TechCrunch made the announcement for them few minutes ago:

  • completely redone design and capabilities
  • will sell for $9750 and will be shipping as early as November 17th
  • 4k video: 4096×2160, at up to 25FPS, or quad HD at 30
  • 3K at 48fps
  • 2K at 60fps
  • 1K at 120fp


Specs:

SENSOR 14 MEGAPIXEL MYSTERIUM-X™
PIXEL ARRAY 5120 (h) x 2700 (v)
DYNAMIC RANGE 13.5 stops, up to 18 stops with HDRx™ 6 fps with 5K FF and HDRx On 12 fps with 4K HD and HDRx™ On
MAX IMAGE AREA 5120 (h) x 2700 (v)
LENS COVERAGE 27.7mm (h) x 14.6mm (v) = 31.4 mm (d)
LENS MOUNT Al Canon EF (PL mount optional)
MAX DEPTH OF FIELD Equivalent to S35mm (Motion) / APS-H (Still) lenses
ACQUISITION FORMATS 5K FF REDCODE RAW (Full Frame)
4K HD REDCODE RAW
3K HD REDCODE RAW
1080p REDCODE RAW
1K REDCODE RAW
PROJECT FRAME RATES 23.98, 24, 25, 29.97, 47.96, 48, 50, 59.97
MONITOR/PROGRAM OUTPUT HD-SDI and HDMI with Frame Guides and Look Around or Clean Feed 1080p 4:2:2, 720p 4:2:2 SMPTE Timecode, HANC Metadata, 24-bit 48Khz Audio
DIGITAL MEDIA REDMAG (SSD) Module : (64, 128, 256GB Media)
REDCODE™ 16-bit RAW Processing : Compression choices of 18:1 to 3:1
1-12 fps 5K FF
1-30 fps 4K HD
1-48 fps 3K HD
1-60 fps 1080p HD
1-120 fps 1K
AUDIO 2 channel, uncompressed, 24 bit, 48KHz.
Optional 4 channel, and AES / EBU digital audio.
MONITORING OPTIONS RED LCD 5" Touchscreen Display
BOMB EVF™ High Definition Viewfinder
REMOTE CONTROL REDLINK Wireless, Ethernet, RS232, GPI Trigger
WEIGHT 5lbs. Body only
CONSTRUCTION Aluminum Alloy
COLOR Battleship Gray Brain Body, Black Canon Mount and Side SSD, All DSMC Modules Black
TEMPERATURE RANGES Operating Range: 0˚C to +40˚C (32˚F to 104˚F)
Storage Range: -20˚C to +50˚C (-4˚F to 122˚F)
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  • http://brianhirschfeldphotography.com Brian Hirschfeld

    Oh yeah its way down.

  • Geoff

    Canon, I love ya buddy, but you just got beat.

  • justin

    WoW…. just rained on cannons parade….

  • Anon

    guys come on the lomokino is so much cooler than this LOLOLOL

  • Stepper

    so much for the original “Under $3000 Scarlet”…
    Red, still hilarious after all.

  • JuankyAlvarez

    Canon C300 got owned |

  • Stefan

    I’d buy it if I had the money and a computer strong enough to edit it.

  • Matt

    Still a decent price for just the body, but if you’re going to whore around over the course of a few years and have always said in interviews it will hover around a 3000$ price range, then a 10k price is a major blow. But then that’s about what you’d expect in behaviour from RED by now.

  • Matt

    Also, before you guys are going to compare this to the C300 price wise: The C300 comes as an actual useable kit, expect this to cost at least 16k if you want to get a workable package. Oh, and from my previous experiences with the Epic; Say goodbye to ergonomics.

    • JG10

      Sorry, but this blows the Canon out of the water- not just on price but on specs. Just look at how many major motion pictures have been shot on a Red. Yeah, this is a new camera but Red already has a foothold in the film industry. You’d be crazy to choose the Canon over this. For a filmmaker the cost of this camera is peanuts.

      • Tony

        I think they aim at the different audience. I doubt Canon really care about C300 spec since its target group is already pretty big (owner of 5D Mark II or Canon lens). Beside, whoever makes the most money win…right?

  • Pikemann Urge

    My take: nobody has a good reason (other than image characteristic preferences) to use Sony, Arri or Canon pro cameras anymore. Scarlet-X simply outshines its competition. So does EPIC outshine its competition.

    Also, only with RED does the line between still and motion cameras blur. Eventually there will be no separation. We’ve seen this coming for years.

    BTW the C300 is $20K, not $16K. Not that a few thousand here or there matters to pros. the Alexa is much more costly than the EPIC and people still use both depending on preferences.

    Canon and Sony just hoped to dole out minor improvements over a long time-span (I like them both for different reasons – but here they’re out-done). Thankfully RED does not play by those rules.

    • JG10

      Well said Mark. Instead of building the best camera they can at a given price point Canon has become obsessed with segmenting the market and holding back on improvements- so that in a year or two they can offer technology that they could have offered to start with. Shame on Canon! Go Red Go!

  • Mark

    Poor people who have been waiting for the Scarlet for years now. They got screwed big time on the pricing and options. Remember 3K for $3K? I guess it was all a scam. Now those poor bastards on the Red forum are going, “It’s way too expensive for me, but I will save up!”

    Now they’re “forced” to buy an Epic lite. The specs look killer and Red has the raw capture advantage, but this shouldn’t be called Scarlet.

  • MarkR

    What is QuadHD? What’s the difference between that & 4K?

    • Sloaah

      QuadHD = 3840*2160 (although the latter figure will probably be lower due to 1.9:1 crop as opposed to 16:9/1.85:1). It is literally each linear dimension of 1080p doubled (2^2=4x area resolution, therefore ‘quad’).

      4k is 4096px on the longer dimension.

  • Sloaah

    One key thing which isn’t mentioned is that while HDRx frame rates are half the speed (and therefore only usable at 3k), they will be producing a new format of HDRx with higher compression in the future; it will arrive as a firmware update. HDRx is a huge benefit for the RED range, although the RedCode (compressed RAW) is probably the biggest thing.

    Perhaps it’s a bit disappointing that they didn’t do a 3k camera for $3k and a 2/3″ sensor. But frankly speaking, the 2/3″ sensor was too small; this is a much better image-making tool. This is a perfect choice for low-budget indie films.

    • R. Jackson

      @Sloaah Can you explain to me why 2/3″ is too small? Cause I worked with 2/3″ broadcast cameras and 16mm film for decades and find the smaller format preferable for many kinds of work.

      • Sloaah

        A few reasons:
        1) This is also aimed at photographers, particular high end fashion/commercial studio photography. They will want to use 35mm lenses and have all the associated benefits of a larger sensor (these benefits are more obvious with photos than on video, due to the respectively high display resolution and static image – they include resolution, dynamic range, noise etc.)
        2) Red’s products have never really been a great choice for fast shooting imo. Codec and various other complications – which all allow you, ultimately, to produce a higher quality end product – slow down the workflow. I don’t really feel that the 2/3″ Scarlet was ever aimed at this market either; its focus was more for low-budget filmmakers, who will often appreciate the added artistic versatility of a S35 sensor. Anyway, I think those that are satisfied with S16 or 2/3″ as a format have a greater number of options as it is, which aren’t that bad (although they may be smaller sensors, such as 1/2″; but the difference isn’t huge, especially with interchangeable lenses. The functional gap between 1/2″ and 2/3″ is smaller than 2/3″ and S35). S35, apart from DSLR shooting, has pretty much been priced out for low-budget filmmakers, with the lowest priced option previously being the RedOne.
        3) Also the 3k for $3k (which then became 3k for $6k once development actually started) had a fixed lens which, while with a nice zoom range, was limited in many ways, including aperture etc. Thus, the main thing going for the original Scarlet over, for example, the EX3 was the codec. The interchangeable lens version ended up being much more expensive, not all that much cheaper than the new S35 setup.

        • R. Jackson

          The current sensor being used in the Epic and Scarlet-X has a resolution of 14 megapixels. This is well within the range of a high-quality 2/3″ sensor. And dynamic range would have been extended considerably by Red’s HDRx, although modern 2/3″ sensors have quite a bit of dynamic range, anyway.

          As far as “fast shooting” goes, if you’re talking about a fast post-production path, obviously there are some outlets that choose not to grade at all and this wouldn’t work for them. For “fast” as in high-speed shooting there aren’t a lot of options out there.

          But yeah, there’s a huge swing towards large sensors right now because they’ve been too expensive for indies until very recently and what people can’t have seems very attractive. That’s until those filmmakers realize that large sensors almost always necessitate the use of a crew. Solo shooting and run-and-gun stuff becomes extremely time-consuming for the one-man-show because you really have to measure out all your focus marks and spend a lot of time making sure the blocking works within your working DOF.

          The Scarlet 2/3″ was the kind of camera documentary filmmakers and indie filmmakers have been waiting for. The Scarlet-X is the kind of camera people who’ve never actually worked in film or television imagine they’ve been waiting for. And taking advantage of those who don’t know is probably where the money is right now. It’s just unfortunate.

  • Starbugs

    well…apparently except for the brain the rest of the accessories is way overpriced….what a dick

    • Pikemann Urge

      I do know this: RED has decided to support only SSDs on this camera. SSDs are very expensive, as you know. CF card support caused them big problems in the past, and they don’t want a repeat of that. I don’t know about the other accessories, though.

      • Harold Ellis

        SSDs are not expensive. They are cheaper then CF or SD cards

        • Pikemann Urge

          Yes… and no. It depends what throughput you’re after. A Sandisk 64GB SD card (15MB/s) costs a fifth of a 64GB SSD card. But a Sandisk 64GB Extreme Pro CF card (90MB/s) costs almost as much as the SSD. But still a bit less.

  • R. Jackson

    This is actually the “Epic S” camera that was supposed to come out by year’s end. The Scarlet that was supposed to be introduced was a 2/3″ 3K camera with native-resolution frame rates up to 120 fps. It was a completely different concept than this camera. This camera will only shoot 12 fps at native resolution. I mean, it’s got a big sensor, but to use it at 24p you have to window the sensor down to 4K which is a 1.6x crop factor in width and a 2x crop factor in height.

  • Jorge

    Ha-ha-ha-ha-ha, the Red Scarlet X, what a dud!!! Billionaire Red Founder Jim Jannard had multiplied the originally claimed price of $3,000 for the Scarlet by a factor of 3.33333333. In addition, he also conveniently “forgot” to ship a lens with the camera, as initially promised. You pay more than triple. And yet, you get so much less.

    I love Red fanboys/fangals defending these lunatics at every turn.

    • Pikemann Urge

      Interesting comment. Horses for courses, of course. But what other camera at this price point can shoot 4K 4:4:4 at up to 30fps?

      Or is 2K (sometimes line-skipped) and4:2:0 H.264 “enough”?

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