Be a fanboy or be a skeptic, but there’s a working fixed-lens RED Scarlet on this very planet.
Interesting times, these. We’ve got inexpensive 35mm-ish cameras rife with artifacts, acouple of reasonably-priced not-quite-35mm camera with great features, and a 35mm PL-mount camera with a price perhaps not befitting its consumer codec. Add to the mix a 3K raw-shooter with RED’s impeccable codec and the promise of some juicy frame rates, but a 2/3” sensor that seems positively tiny these days and a conveniently-cybernetic, but love-it-or-leave-it lens. Will Scarlet find love from folks more concerned about frame rates, latitude, and gradability than with depth of field so shallow you have to choose which eye is sharp? Will such shooters be content with a finite set of focal lengths, in exchange for a presumably reasonable price-point?
Sometimes even remembering that last year’s Academy Award winner for Cinematography was shot on 2/3” sensors and the Best Picture winner was shot largely on Super 16mm isn’t enough to quel that nagging feeling that bigger is better, even if it’s bigger, softer, and sizzlier.
RED is betting that you like some sanity with your cinematography. Do you?