This camera has been talked about for so long, I'll believe it when I see it. Growing very tired of the hype....want to see some REAL product.

We are witnessing here the birth of a Blue Ocean. (RED in a Blue Ocean, how absurd that sounds?)

Clearly RED went towards a blue ocean strategy with value innovation. Actually it is not really the 3k or 5k or whatever k they offer.

It is the modular build of their system by which they will be saving endless head aches for those who previously tried to get a good rig based on a camera which was purpose-built imperfectly by adding optical connecting elements for huge bucks just to make use of their existing still camera lenses, then went out for solid state recording options and tried tons of adapters and matching cards to replace the ridiculously overpriced proprietary media of the camera makers. Let alone the monitors you had to replace your useless LCD screen or viewfinder with in case if you wanted to make that HD shot sharp.

With this system this all will be gone.

Just like Cirque du Soleil abandoned elephants and lions and gave us something much better than that (without the complimentary smell), RED has abandoned most everything which was created by the big boys of the video industry.

At a price that most videographer would consider a steal.

I am not in any relation with RED. Just like what they are about doing.

Scarlet is arguably the best named camera ever, after being so excited and then waiting to buy a camera and then buying a camera and then waiting and waiting and seeing so many flips and price changes and waiting some more, I feel like saying "Frankly, my dear . . . ."

Many of us are already using the Scarlet, except it's made by Canon and called the 7D. While I don't doubt many people will jump on board the RED marketing bandwagon next year, nobody is going to put their productions on hold until then to see if the camera actually comes out. In other words, RED has just lost 2010's purchasing decisions.

What does that mean? Are you saying that the lens on the Scarlet is a lot better than the one on the 350? If so, it's impossible to say that as you don't even know how good the Scarlet lens is - it may be awful, you don't know until it exists, and also the lens on the 350 by all accounts is actually very good.
Steve

I think the major difference that most video shooters will point to is that the 7D was always meant to be a stills camera with a small video add-on and therefore any video use was always going to be a bit clunky, while the Scarlet was designed at least as a half and half camera, if not more so a video camera with stills capability. From a video useability standpoint you'd assume it'd be a lot better and I'm sure that's what a lot of poeple have been waiting (a bloody long time!) for.
Steve

To be honest, Scarlet looks less comfortable to hold than a DSLR.

It does look like a block, but add a handle to it and there you go. Now you've got a block with a rounded handle.

Not sure I quite agree. Having shot with lens adapters like redrock and brevis I would say that the 7D is MUCH easier than those setups, and much sharper with no vignette. For run and gun, maybe not, but for production it is actually very quick. The scarlet looks like a pain to operate compared to even a dslr like the 7D.
Touchscreen? might as well label it a Sony consumer camera. Tactile external controls are faster. In REDs quest for new ways of doing things, it seems thar though their images will be second to none, their ergonomics are beyond lacking.

Rather like the RED One I suspect you have to check out the accessories to discover how an operational Scarlet is configured. RED have received quite a few comments about ergonomics with the One, so hopefully they've taken everything on board.

I'm not expecting the base Scarlet to be a neat little unit without having accessories fitted.

Well that says quite a lot really. Video/Cinema shooters are not likely to want to handhold their cameras very often (I hope!) Typically you'll have a big tripod, support bars, follow focus, matte box etc.
Steve

I agree. Pros don't generally run cameras naked.

One advantage for Scarlet (if you have the budget) is that the EVF can be mounted up front and on the side. That will allow a better balanced shoulder setup than a DvSLR with a loupe.

On tripods, dollies, sliders, jibs and balance rigs, form factor doesn't mean much, as long as the camera isn't overly large, heavy, and imbalanced.

True, but for those pros who DO handhold on occasion neither a DSLR or the Scarlett look appealing. A "normal" video camera has them both beat... Time and reviews will tell...

Then dont buy fixed.

More pixels? Scarlet is 3k!(I guess you mean more photosites pr color) Mysterium X does iso 800 without added noise. Which is unpresidented. Talking about low light.

You have no basis for that statement, unless you really are trying to compare it to the 5D. In which case.. Shame on you.

Have you seen all the acessories for the reds? Oh right. It's extra. Curse Red for not letting me keep all of the 14000$ I saved by not buying the sony.

So now you do a fair comparrison, and spend 19000$ on a red package, and tell me you still chose sony.

Which camera you buy may depend on what format your clients require. I know productions that have gone for Sony F35 rather than RED because of the post production schedules. There are a number of factors involved in selecting a camera other than the price of the camera.