Canon, Red and Sony: It's War, I tell you! War!

First, Sony released the F3, a Super 35mm digital cinema camera for about $17,000 U.S. list price--$14,000 street price. The F3 has a 2K sensor, uses Sony's 35Mbps XDCAM EX codec, and comes with a dual-link HD-SDI interface. For an additional $4,000, it can be upgraded to 4:4:4 output and 3G-SDI.

Next, in a theater on the Paramount Pictures lot this afternoon, Canon announced its new EOS C300 digital cinema camera, based on the EOS DSLR platform, but with a new form factor and sensor. The sensor has 4K resolution, but it uses all the pixels in the sensor instead of line-skipping, and outputs a native 1920 x 1080 image. It uses Canon's 50Mbps XF codec at 4:2:2 and delivers 12 stops of dynamic range. Unlike the F3, it doesn't have options for dual-link HD-SDI, 3G-SDI or 4:4:4, but it does have Canon's Log format built-in. Two lens mounts are available: Canon's EF and Arri's industry-standard PL mount.

Unlike the Sony and most other cinema cameras and camcorders, the C300 doesn't have any automatic settings at all: No autofocus, automatic aperture, or automatic white balance. Everything is manual. That works for digital cinematography, but it's useless for "run & gun" situations, such as sports and documentaries, where the shot changes faster than most cinematographers can keep up.

The Canon, like the F3, comes with most of the essential accessories bundled, including the viewfinder, XLR audio interface, side grip, top handle, battery and charger. The list price of the C300 will be $20,000 (U.S.), and will ship in January 2012.

No sooner would the ink about the C300 have dried on the page if we were still printing ink on pages, than Jim Jannard of Red was standing in front of another group in another theater in Los Angeles, introducing the Scarlet. Yep, THAT Scarlet, the one that's been announced more times than Harold Camping has predicted the Rapture. However, it's not really THAT Scarlet, the model that was supposed to cost $3,000 with a 3K 2/3" sensor and a fixed lens. The Scarlet-X that Jannard introduced has the same Mysterium-X imager as the Red EPIC, uses all the same accessories at the EPIC, and can be purchased with either a EF or PL mount.

The Scarlet-X's sensor has 5K resolution for still images, 4K at 1-25 fps, 2K at 60 fps, and 1K at 120 fps. The sensor's dynamic range is 13.5 stops, and up to 18 stops with HDRx enabled. It records REDCODE RAW at 440Mbps--almost nine times more data per second than Canon's C300. The basic Scarlet-X sells for $9,750, including the imager, an EF mount, Brain (central processor) and side mount for a Solid State Drive. Add $1,500 for a Titanium PL mount; a full configuration with viewfinder and HD-SDI output is $14,000. The Scarlet-X with the PL mount will start shipping this month, and with the EF mount will begin shipping on December 1st. Red estimates that it will take until February to fill all the existing back orders.

The Canon C300 has been seeded to a handful of cinematographers; it's not clear if anyone outside Red has used the Scarlet-X. In any case, reviews of both cameras should start showing up in a few weeks. There are now three digital cinema cameras in the $14,000 to $20,000 range, all of which can do things that required cameras of two or three times their price a year ago.

Want a Scarlet today? Buy a Canon 5D Mark II

I previously wrote about the restart of Red's Scarlet project, apparently to turn it into a still and video Digital SLR. The Scarlet, of course, was supposed to cost $3,000, and Red fanboys everywhere have been waiting breathlessly. Well, the first HD video from Canon's new 5D Mark II has shown up (thanks to our friends from Gizmodo), and it looks awfully good. The 5D can be had from Ritz, a reputable dealer, for under $2,700 without lens, or for about $3,500 with a lens. The video referenced by Gizmodo used 11 different lenses, so this was anything but a simple production. Nevertheless, pro photographers, the market targeted by Canon, buy lenses all the time, and still lenses cost a small fraction of the cost of video lenses. This is why Red made its move.

There's still plenty of market opportunity for Red, but as Jim Jannard said, the market has changed (dramatically), and the Scarlet, with its fixed lens and video-only orientation, simply wouldn't have cut it when it reached the market next year.

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• Vincent Laforet spends a weekend with a pre-production Canon 5D Mark II; shoots a commercial and loves it

Vapor, in a shade of Scarlet

Well, so much for the Red Scarlet, the $3,000 3K video camera scheduled for release next Spring. Here's a quote from Jim Jannard, the founder of Red: "We have changed everything about Scarlet because the market has changed and we have discovered a lot of things in the process. We have a new vision. Wipe you (sic) minds of the past announced Scarlet. Forget the design and forget the price. It is all different now. We think you will be surprised. Glad we didn't take any deposits... :-) ."

Red has recently been talking about introducing its own digital SLR (DSLR) still camera. With the recent introduction of digital SLRs from Nikon and Canon that can shoot HD video, the functions of still and video cameras are blurring, especially for press photographers who are increasingly called upon to shoot video for websites. There's a real opportunity to release a DSLR that does stills and video equally well, so Red had the choice of building two cameras (the Scarlet and a DSLR), or building one. They've apparently chosen to build one, which will be the redesigned Scarlet.

This only reinforces what I've said in the past: Don't believe anything about a product until you can buy it. The milled aluminum mockup that they showed at NAB is probably being melted down as I write this.