{"id":61303,"date":"2015-08-28T10:37:00","date_gmt":"2015-08-28T15:37:00","guid":{"rendered":"http:\/\/www.premiumbeat.com\/blog\/?p=61303"},"modified":"2015-08-28T10:37:38","modified_gmt":"2015-08-28T15:37:38","slug":"could-the-ursa-mini-be-poised-to-challenge-the-red-scarlet","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/could-the-ursa-mini-be-poised-to-challenge-the-red-scarlet\/","title":{"rendered":"Could the URSA Mini be Poised to Challenge the RED SCARLET?"},"content":{"rendered":"

The RED SCARLET is a workhorse, but it can be a costly one. With the URSA Mini soon to be released, could the SCARLET be in trouble?<\/h2>\n

Note: I am a\u00a0RED Camera<\/a>\u00a0user.\u00a0I’ve\u00a0used RED for years now, and specifically I’ve used the RED SCARLET on the last four\u00a0film productions I’ve produced and directed. But now that the market is flooded with inexpensive 4K camera options<\/strong>, I wanted\u00a0take a look at a cheaper option versus the RED SCARLET. The one camera that keeps coming up over and over is the soon-to-be-released URSA Mini.<\/p>\n

So, with this said I want to take a look at the state of RED as a whole and then ask the question: Is the SCARLET in trouble?<\/p>\n

The Overall State of RED<\/h3>\n

RED is actually in a really good place right now in terms of install base. Directors\u00a0like Peter Jackson<\/a>, Ridley Scott<\/a>, Neill Blomkamp<\/a>, David Fincher<\/a>,\u00a0and Steven Soderbergh<\/a>\u00a0have relied on higher-end RED cameras for years and that has helped the brand. REDs are also being used quite extensively in television as well, with shows like House of Cards<\/a>, Daredevil<\/a>, Better Call Saul<\/a><\/em> and Into the Badlands<\/a><\/em>. Other than principal production, REDs are being used by\u00a0VFX houses<\/a>\u00a0across the world when\u00a0capturing footage<\/a> for compositing<\/a>, or as in Pictorvision<\/a>‘s case, a camera array<\/a> for aerial photography in Jupiter Ascending<\/a>.<\/em><\/p>\n

Again, keep in mind that for many of these productions, or rather most<\/em> of these productions, higher-end RED cameras like the EPIC are being used. But what about the SCARLET?<\/p>\n

\"Could
\nImage from Pictorvision<\/a><\/em><\/p>\n

Could the RED SCARLET be in Real Trouble?<\/h3>\n

Now, not all of us can drop twenty<\/a>\u00a0to sixty<\/a> thousands dollars or more on a camera, and RED knows this. That’s why for years they’ve offered the RED SCARLET<\/a>\u00a0at a starting price point of ten thousand. For the longest time, that was a really great deal for a 4K video option.<\/p>\n

But now with so many\u00a0independent filmmakers<\/strong> and video professionals<\/strong>\u00a0finally making the leap to 4K (even though I don’t think it’s a necessity<\/a>)\u00a0they’re finding a\u00a0wealth of 4K options out there. These options, like the URSA Mini,<\/strong> aren’t going to break the bank either, and it makes buying your own quality 4K camera (instead of renting it) a real possibility.<\/p>\n