Jim has confirmed several times that Scarlet will have the exact same 288 mbps REDCODE. It will also have 800mbps 120 FPS mode and some sort of RGB codec.

Bill, check that link to the TV series. The stuff looks great in SD. I've shot quite a bit for two other documentary producers in SD with my XH A1 and it looked great. One was shown theatrically and the XH A1 footage looked significantly better than footage from any of the other SD cameras used (XL2 and DSR250 for the most part).

I think that "broadcast quality" issue is a non-issue. You give them an HDCAM master and who knows or cares what it was shot with. While some channels may claim to have certain standards, you'll also see shows obviously shot with lesser cameras if you watch long enough. If it's professionally produced and the video and audio are within broadcast standards, ie., no blown out whites, no overpeaked audio, etc., then it's going to be accepted if the concept and production values are up there. Some of the best looking "films" I've seen at some festivals in the past couple of years have been shot with the Z1. The new Crank 2 has a combination of XHA1 and consumercam HDV footage. I've seen "28 Days Later" on either HBO or Showtime, and they didn't reject it because of all the XL1 footage. I've seen documentaries on both Showtime and HBO shot with PD150s and DVX100s. A camera is no different from a hammer and saw in the hands of a carpenter. Give a good carpenter those tools and he can build you a house; somebody else wouldn't be able to cut a board straight or hammer in a nail without bending it.

I'm happy with my XH-A1 as far.

I'm using a 120 gig CitiDisk rather than tape, it records as m2t files which is a pain in the neck for FCP but for Adobe works fine.