In an announcement on the Reduser forum this morning, Jim Jannard of Red Digital Cinema has stated they are no longer working overtime to push the release of Scarlet and EPIC. These cameras are still in the pipeline, they have just moved to a more typical development schedule.
I see no reason to continue to pay for rapid development and pushed schedules when the world is not ready to buy our product in the quantities that justify our urgency. […] Retail camera sales are currently off 40-50%.
While it may be a blow to those who were hoping to get their hadns on one of those cameras once they were pre-announced, I can completely understand their decision. If the volume of sales won’t be there, it doesn’t make sense to push development as hard as they probably were.
Jon Chappell of Digital Rebellion highlights why this isn’t such a big deal, which I completely agree with. There may even be an upside. This may translate to more Red One sales, which could mean more support for the Red One in post. We’re getting there with RAW support in FCP, AE, and Premiere, but it could stand to be improved… especially 4k support in FCP.
A lengthy but interesting thread popped up on FCP-L. What started out as a simple off-topic post about the new Canon 5D-MkII evolved into tapeless vs tape, digital vs film, and even the evolution of nonlinear editing. At some point I will probably go through and pull out my favorite posts, but for now, I just wanted to get the link up. It’s definitely worth scanning through.
While not ready for the home yet, Sony’s new 4k projectors look impressive. Each projects touts a 4,096×2,160 resolution with the T105 at 5,500 lumens and the T110 at 11,000. But at roughly $78,000 for the former and $120,000 for the latter, these are aimed squarely at large cinemas and museums (not to mention the fact that they’re being released in Japan in November). I’d still love to see some RED projects projected on one of these. I just might have to wait a bit.
Red Digital Cinema, creators of the Red One 4k camera, is profiled in Wired magazine this month. The Red One is an amazing piece of tech (though the post workflow is still continually evolving), and this piece by Michael Behar goes a long way in explaining why. Though John Gruber puts it more succinctly:
[The] Red One movie camera is, dollar-for-dollar, the best and most amazing camera in the world. It sells for $17,500 — but if you think that sounds expensive, consider that the equivalent film camera rents for $25,000 per month…