RED Scarlet Test Video With Three Hot Models In Lingerie.

Cameras

I have a great working relationship with Birns and Sawyer, Hollywood. I advise them on new cameras and support equipment in exchange for “Resident Cinematographer” status. Whatever that means! When the RED Scarlet was announced I advised them to buy six. They just received them and I grabbed it the first chance that I got. We wanted to do something fun, so I headed over to Model Mayhem to grab a few models. I found three within a few hours and we were set. Now what to do with three models? Pillow Fight at 120 fps sounded good to me, even if it was only at a 1K resolution. Crank that sucker up! Mark my words. Slow motion is the new time lapse.

So everything was set. I asked for the Zeiss 15.5-45mm LWZ zoom and a few Zeiss MKII primes. I also asked Birns to send a tech out with the camera. The last thing I wanted to deal with was three models and a dead camera. I also wanted to do something fun with the charts that we normally shoot for these tests. Body paint would have been great but we settled on Tattoo Transfers. It did not work out so great, but at least we tried! So camera is ready and the models are giving themselves last touch ups when we discover that the 120 fps 1K option was not available.

Going over to Red User we find that although the option is listed in the user manual it is not currently available for this build. A total bummer for me personally. I really wanted to over crank that camera! We settled with 60 fps at 2K. My right hand man Chris Collins suggested flat lighting for the test but we settled with a little 300W topper for some highlights. Chris bounced two 650′s off each side of the walls for fill. We started at 800 ISO but ended up pushing to 1600 ISO and that may explain some of the noise. We stuck with the Zeiss LWZ for most of the shots and it was a dream to use a cinema lens again. Slamming that zoom back and forth to check focus felt so damn good!

My impressions of the RED Scarlet are quite good. It feels solid. Has buttons where they should be. The PL mount is so much nicer than the bayonet mount still lenses we endure on a daily basis. The RED monitor was not that impressive. It is a robust monitor but the IQ is lacking. The menu system is fairly intuitive and simple to use. We were lucky to have a tech with us but never had any issues whatsoever. We were able to change functions quickly and easily. It’s all there for you in one place. Matt had mentioned that Birns was having trouble getting AKS for all of their cameras. I suspect that there will be plenty of third party manufactures and suppliers to follow. The RED Scarlet is a great cine camera and will be even better when everything that’s offered is available. If I had the scartch I would get one. The problem there is that I would have to buy another one to back it up.

Matt Miner from Birns and Sawyer was cool enough to join the fun and also shot the little BTS video below.

 

Jared Abrams
Jared Abrams is a cinematographer based in Hollywood, California. After many years as a professional camera assistant he switched over to still photography. About two years ago a new Canon camera changed the way the world sees both motion and still photography. He just happened to be in the right place at the right time.
  • http://twitter.com/jahkenz Kenz Perez

    Wow.. I just love the detailed shot.. I can now see their freckles!

  • Jestus Seyeng

    WHY does the image look so soft? Hello? This is supposed to be high resolution???
    BTW, these girls are not hot… They are indeed pretty skanky looking.

    No props? Where’s the pole?

  • Casey

    Over 25k worth of kit and it looks worse then skype video chat.

  • http://twitter.com/VigilanteHD Tony Segreto

    Pretty cool.  Excited to see what you guys are going to do when they enable 120fps =)

  • Alec, @FlyingRadish

    Grade was a little severe to my eyes, insofar as it really crushed out the darks and went from flat to the other extreme.  That said, not a bad test of the slow motion, though yes 60fps isn’t terribly impressive at 2k when the FS100 will yield roughly the same 1080p final product at a fraction of the cost, minus the lens multiplier effect. 

    From a practical standpoint what I actually take away from this test is that 1300W of light (minus hair) was needed to make basic exposure even at 1600 iso in a small room where all the walls acted as bounce (i.e. about as efficient a setting as you’ll get). So to hit 800 iso more comfortably you’d need twice as much light if I’m understanding lighting basics (which if I’m not correct me please). Moreover, wouldn’t you then need twice as much light as that to crank it to 1/240 @ 120fps? Roughly somewhere north of 4k worth of tungsten?  That’s a sh!tload of light and while everyone knows (or should know by now) that the Scarlet is a camera that needs to be lit around, that’s a pretty interesting scenario and even more light than I expected.  Definitely NOT C300 or DSLR levels of sensitivity.