odie
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Posts posted by odie
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how close is the 5d mark 3 raw to the red mx…??
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A more interesting approach would be, which lenses did they use
ok …which lens and iso is used?
and camera comments...
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commercial…standard…but small crew
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which camera to choose?
best bang for the buck??? (if purchasing)
(will need soon for commercial with small crew)
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which one to choose??
best bang for the buck???
(will need soon for commercial with small crew)
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Red 6k is my guess.
lucky guess…??
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for me the best affordable cameras out there are hacked…gh2 and 5d3...
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arri the most rented camera for digital and film...
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this is on topic here with ..http://www.youtube.com/watch?feature=player_detailpage&v=Tcb-8qKUg18forum please guess what camera this is??
5d mark ii
5d mark iii raw
bmpcc
bmcc
bmpc 4k
red 6k
red one
gh2
gh3
nikon 5300
nikon 800
super 16
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But it's film. And the digital camera that best mimics film is the Alexa. So in effect it makes perfect sense. Thing is, I imagine current film stock prices, and transfer costs probably bring shooting 16mm up to the same total cost as shooting on a hired Alexa?
+1
this is something that was also said at the festival by dps and directors…I think they keep the cost down with shooting ratio..and owning the 16mm camera..no rentals
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Then:
Explain to him how he's wrong about the ugly noise texture in all MX footage, especially tungsten-balanced, making the image look cheap and chunky and digital.
Explain to him why the shadows get so chunky and blue in any tungsten-balanced Red scene, whereas Alexas can be shot under any lighting condition. And then go on and add why the Alexa's superior low light ability is irrelevant.
Explain to him why it's irrelevant that the Alexa has a smoother noise texture, much more like film.
Explain to him why, despite the Red's 13.5 stops of DR being is a total lie (in fact the camera has no more DR than the C300, less than the F5, and a magenta-tinted highlight rolloff), it's still better than the 14.5+ stops smoothly handled in the Alexa.
Explain why the Alexa's superior midrange tonality isn't significant.
Explain why red code botching details in skin and foliage (again, some of the most emotionally resonant subject matter...) is irrelevant, whereas ArriRAW is fine and even prores handles these details well.
Explain to him why the color science of the Alexa matches 5219 almost exactly and offers smooth creamy flesh tones and beautiful green foliage, whereas the red totally botches memory colors, but that's ok.
Explain to him how he's wrong that the OLPF of the Red offers ugly internal reflections and color cast over highlights, whereas the Alexa rolls off smoothly like film.
I'm curious. Explain how an ugly image with good specs looks better than a beautiful one with somewhat lesser specs.
Personally I would shoot a C300 or F5 over an Epic; the Epic has a stranglehold on summer blockbusters for the resolution advantage, but the look is just so... ugly and the workflow so damn shitty.
Yes there is beautiful content shot on red. But Prometheus, for instance, required a lot of CGI lipstick to dress up that pig.
I do find the character of the Monochrome sensor to be superior.
+1
this is what I'm hearing from festival directors and dps..
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Not the Oscars, but a lot of good movies being shot on the Red, such as Lone Survivor, Robocop, 300 Rise of the Empire, etc.
I think Red is used for more special effects movies…??
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Some of this may be due to the slow Dragon roll out for the EPIC, some maybe due to the way RED has always played the INDIE film maker card, thereby not letting the major rental facilities play with their toys in the early days, and some of this is the fact ARRI has a really rock solid product right now. ARRI will also run the financing of the camera bodies and even more importantly the GLASS, for most major rental facilities. ARRI has a better operational chain for repair and body backup too. I maybe off the mark on this last one, however, I believe the way ARRI handles the camera operations is more in line with what the unions want as well.
RED is also under new leadership. You may discount this statement, however, APPLE. DELL and HP all slid in the ratings when the Name that made the company stepped aside. I am not saying that RED is out of the game, All of these companies have had their highs and lows.
I think SONY and Panasonic are struggling the most. More iPhone footage seen then any Panasonic camera. lol. GoPro will certainly spend lots of money marketing the product line that will certainly be spun off to form their GoPROMO camera. ( I have no idea what the real name will be, it just sounds mo pro huh?
super 16mm …poor man's arri alexa
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on another note from Sundance 2014 cameras..used so far..noted
2 35mm (one arri and one panavision)
3 arri alexa
3 super 16mm
1 sony f3
1 red epic..
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It's like some people have skim read the article. I'm clear that any image quality is camera dependant. Taken in a general sense if you are going to get 4x the data off the sensor and onto the card, you will gain a lot of other attributes if the camera's image processor and codec are up to scratch.
For DSLRs to move away from line skipping and binning to a 4K video signal from the sensor, that avoids one of the ways so much dynamic range is lost in the first place, the throwing away of lots of pixel data.
since I want to shoot 4k…the 5d mark 3 raw and bmpcc are now obsolete??
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Got there around 3pm yesterday and hung out for about an hour. These are just my personal impressions from a very limited interaction with the camera and brief conversations with Joe and some of the other attendees. Please keep in mind that these are personal opinions and they might not be entirely accurate or reflect the final camera's functionality.
Ok, here goes:
First let me say that Joe seems like a very passionate and super nice guy, there is a lot to be said about someone who pursued an idea a saw it through realization, kudos to him and his team!
I also want to say that the image quality that I saw on the computer (the camera records CDNG files with Aiff audio) was very pleasant and detailed with low noise and good shadows and highlights.
Having said that, unfortunately this camera appears to have a classic case of a solution-looking-for-a-problem, starting from the form factor which doesn't lend itself either to traditional mounting solutions nor to newer DSLR rigs. Sure you can mount it on a tripod, but trying to attach it to a rail system with a follow focus gear is going to be...challenging. I was also surprised at the lack of some screw holes in the body which would come in really handy to attach an external monitor or other gadgets. It does have a hot-shoe flash mount, but I personally avoid those with larger and heavier attachments.
The pistol grip is a cool idea, but the camera is fairly heavy (heavier than a 5D with a hefty lens) One's arm would likely become sore after about 20 minutes of holding it. The decision was made to be true to the original and make the record trigger on the handle not latch when pressed to record. While this is the way the original Bolex operated, it would have been nice if a latch option would have been provided. The camera does have a record button on the top which works as expected, but makes one wonder if the pistol grip button will largely be ignored by most operators.
The camera features two CF card slots, however all the video is recorded to a non-removable internal SSD 500Gb drive. Why not write directly to easily removable CF cards instead? Methinks if the Blackmagic Pocket Camera can do it, why not the Digital Bolex?
The internal drive can hold about an hour-ish and then some worth of video, and the data can then be transferred to the CF cards, or to a computer through a USB 3 slot. Transfer time through USB 3 for about 500Gb worth of data....about an hour.
Lens mount is a C-type. This was another bit of odd choice to me, while once again this mount is true to the original Bolex, why require the end user to buy into yet another type of adapter, particularly one which is not used by anyone else?
No removable battery...grrrrr.
2K -- The sensor is a super-16mm sized one, shooting at 2K uses the entire sensor, while shooting in 1080p mode crops the sensor down to what Joe described as regular 16mm size. In my opinion, 2K offers neither high enough resolution for re-cropping and enlargement in post, nor is particularly useful as a delivery format for web, festivals, and DVD/Blu Ray where this camera's output is likely going to end up. So why not either stick to 1080 and use the full sensor, or go all the way up to 4K?
Last but not least, the price. At over $3k (actually $3600 after the drive upgrade to 500Gb) I am not quite sure how this camera will fare against the Blackmagic Cinema Camera which features a larger sensor, EF or m4/3 mount, higher resolution, swappable media, and already a thriving accessories ecosystem. Will no-rolling shutter and a cool vintage vibe be enough?
In closing, I did like the image that I saw quite a bit, and I feel that some of my concerns could be fixed with a firmware update (most notably the gun trigger function and maybe the ability for the camera to write directly to fast CF cards). I'm not quite sure how this camera will do against Blackmagic and whatever else is announced in April, but I wish Joe and his team the best of luck and a great deal of success nonetheless.
I applaud Joe for pursuing a dream, and I think this world needs more, and not less guys like him. Despite the potential shortcomings of this camera, I am happy that it exists, and I am happy that people like Joe are able to realize their visions.
Once again, these are just my opinions based on a very brief encounter with the Digital Bolex, please take everything I just typed with a huge grain of salt and try to test drive this camera for yourself before you come to a decision on whether you want to buy one or not.
I liked the camera too…but now I want to shoot 4k…so what happens to my 5d mark 3 raw and bmpcc (pocket camera)..?
for 4k are these cameras obsolete now???
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It's not yet common. Some directors insist and have enough juice to pressure production to fork over the substantial budget increase both 4K VFX and DI will cost them. Prior to the phenomenon of IMAX presentation for non-educational films 4K was more common for anamorphic films where that's considered rather minimal quality for anamorphic.
I would be really surprised if more than 10% of big VFX films are being posted at 4K and certainly less than 20% right now. That's up from hearing about the one or two films a year requiring 4K post just a few years ago. The shift to DCP already gave a resolution boost to 2K finish over general release print quality, commonly considered worth about 1K thanks to all the optical steps.
If you've ever seen first-gen prints straight off a neg projected big and beautiful you cry at how much is just gone by the time it hits the multiplex. This is a big reason why the death of film as an acquisition format is far too premature, regardless of how good any digital camera is, because DCP of analog origination is the best looking digital presentation going. Similarly, digital origination looks nice® when printed to film and optically projected. It would be interesting to see experiments with digital origination, print to neg and then scan that negative for DI and eventual DCP.
Anyhow, yes, I was surprised to read someone had busted out the VV. They must be doing pan/zoom or perhaps some tricky projections where the extra resolution is desirable above working from a 4K 4-perf scan. It's maybe a little overkill if they're using it for an Alexa section.
CG itself, regardless of standard practice, doesn't need to be rendered to your target, working resolution because we tyipically work at 4x to 8x oversampling. You have further shading and geometric oversampling if you're using a REYES style micro-polygon renderer (Pixar's Renderman implementation, prman, or SESI's Mantra renderer being the most common) where, nominally, if you were to only do a 1x spatial sample you would still have four micro quads shading beneath each pixel.
Straight raytracers commonly have even more oversampling thrown at them as they're prone to spatial aliasing but there's decades of research into techniques like poisson disc sampling and other stochastic techniques striving to improve results while lowering computation because noise is less distracting and more aesthetically pleasing (and more consistent with motion picture imagery either analog or digital) than hard, jagged lines.
yeap...
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alexa over red
kodak overall
Video quality charts - February 2014
In: Cameras
Posted
and how about the iPhone 5s..nice..does it rate