RED Scarlet

Logan Kelsey shot and edited the below short documentary in 4K with the RED Scarlet and Final Cut Pro X. Explains Kelsey, "My RED workflow for short-form projects (in the up to 5min range) is a direct shoot-to-edit workflow using the native RED media. I don't have a RED Rocket card and I've already completed about six 4k projects using this method - the results are brilliant. For long-form pieces, or when you are not connect to an external Raid, I would recommend using proxy media. I'm using an UltraStudio Mini Monitor and I get a nice 4k to 1920×1080 down-convert to my Panasonic HD broadcast monitor."

522 Productions set up some camera tests between the RED Scarlet, Blackmagic Cinema Camera and Sony F5 and present some of the results along with with comparisons of set-ups and more. Watch below.

If the federal Witness Protection Program decided to place all its witnesses in the same town, they need look no further than Banshee, Pa., the fictitious setting for the Cinemax series Banshee. The 10-episode primetime show, which runs on the pay-cabler Fridays through early March, could also place its stand-in for “rural Pennsylvania” into witness protection: Charlotte, N.C. Yet what is clearly no mystery is the decision to go with both RED SCARLET-X and ARRI Alexa digital camera systems as the crew’s handheld weapons of choice for fighting bad guys.

ImpulseKitty Productions reviews a slew of digital cameras including the Canon C100, the Sony FS100, Sony FS700, Canon C300, Blackmagic Cinema Camera, RED Scarlet-X and the Canon 5D Mark III. Watch the review and test footage from each camera in the video below.

AETuts+ provides a brief introduction to the RED Epic and Scarlet including a short history of the company and how the cameras function. They write, "Since the Red One, RED has released two other cameras under the DSMC (Digital Stills and Motion Camera) construction philosophy. The RED Scarlet is the lower-priced, less-featured of the two, the RED Epic being geared more for the professional market.

We’ve been transitioning to 4K video acquisition long enough now that camera designers and manufacturers are already looking at 6K, 8K and 12K resolutions and beyond—RED’s EPIC is a prime example of such a camera that’s now available for lease and purchase. But what about quality-minded producers who don’t have the budget to support such a high-end option? Until quite recently, no 4K cameras have been available without correspondingly large price tags.

5KInsight has posted a short video tutorial highlighting the workflow to getting your RED Epic or Scarlet footage into Adobe CS6 and taking it into color correction interface SpeedGrade. Watch below.

Filmmaker Josh Negrin shot his short film "Calling Charlie" with the RED Scarlet-X. He writes, "Our director of photography, Joseph Hendrickson, shot 'Calling Charlie' in 4K on the Red Scarlet-X using Canon Lenses. Coming from a 5D, I can assure you that operating the Scarlet is just as intuitive."

Watch the film below and read more about Negrin's workflow here on planet5D.

DP Timur Civan -- owner of both a Sony F3 and a RED Scarlet -- does a side-by-side comparison of the two cameras focusing on skin tone and still-life. Identical lenses were used on both cameras.

His conclusion? "I find myself shooting films and documentary on the F3, but commercials, music videos, and corporate spots on the RED. When it needs to look natural, I use the F3. When it needs to look crisp and slick, RED."