Jonesy Jones

Mattias, I would love to learn more. I have always scoffed at film because it just seemed way out of my price range, but this is looking doable. Any info would be helpful. I'm totally new to this so assume I know nothing of film. 

Lets hope. If they can keep costs down and if I can learn to develop and scan I would totally make the transition. What would be amazing is if there was a way to combine the best of both worlds. What if a film camera could scan to digital in camera? Probably not possible, but perhaps the Renaissance to non-tech will bring about some creative thinking that hasn't happened yet and we end up with something we haven't even asked for yet or didn't know we wanted. 

What is the ISO rating? I haven't seen that in any of the articles. Is it UHD or true 4K? Does it do RAW? Maybe with a ML hack. Is the hdmi out clean? Or maybe it's sdi. I've never seen a camera announcement with so little info.

EDIT: sorry, I'm such an idiot. I just saw the image and it doesn't really look very filmic to me. No longer interested. 

Red's website has them both weighing in at 3.5 lbs.

With their new Scarlet announced which seems pretty great, why would I get a Raven (except of course for a B cam)? I realize $5K is not chump change, but if I were going to buy Raven, wouldn't I just get the Scarlet W?

http://www.red.com/products/scarlet-w?utm_source=email&utm_medium=email&utm_content=CTA_button&utm_campaign=SCARLET-W_Launch

That's how I want my colors to look. Like there is no look. Just right. Would love to see same subject in other sets if you have it. Thanks for sharing. 

Yes. I keep seeing the same thing from Sony cams as well. 

On another note, I just started watching the old X Files episodes on Netflix again and I just love that look. It's a little dark for obvious reasons but so nice. If you haven't seen it in a while check it out. It's weird because it doesn't really have a look, it just looks like it's supposed to look. That's my new goal with color. Try to have them get out of the way.  

Wow. I just think it's amazing how so many bash BM but at the end of the day those things hold their value and are amazing tools. I bought my pocket during the half off sale and sold it over a year later for quite a nice profit. I currently own the original BMCC with mft which I picked up after I sold the pocket. I LOVE the image from the BMCC and feel like I have my camera for years to come. 

Wow. For those not seeing the awesomeness of this camera please check your monitor. Maybe you have the suck button pressed.

1. There is obvious DR there not really seen with anything close to our level. 
2. Colors are very similar to BMCC, but better. They told us this. And this is the one thing they are still dialing in, according to the testers.
3. It is plenty detailed, but to me it doesn't feel overly detailed. 
4. Rolling shutter is surprisingly minimal. 
5. Where's the noise? Don't get me wrong, its there. But dang.
6. AND... I still haven't even seen a raw frame. Have you?

I used to have a small set of Leica R's - 19mm vii, 60mm, and 100mm APO. I've since sold them and gone with the Sigma 18-35. I loved the colors of the Leica's, but definitely softer than the 18-35. But the bottom line is that the Sigma gives me a range of my favorite focal lengths without having to change the lens, which is invaluable on micro budget shoots.

I knew that I just wanted to see if you did.

Ok. I'll stop offering technical support here. Definitely not my strength. 

Audio is carried through hdmi. So your VA will receive both video and audio with your hdmi cable. 

Is this the only 1080P 5" monitor that records to prores that inputs and outputs both SDI and HDMI and (I assume) cross converts between the two? I believe so. It won't surprise me at all if zebras, focus peaking, false color, etc are added eventually, though I wouldn't buy it with that assumption.

Andrew, I know you're getting a bunch of requests but here goes a couple more. 1) Does it take a signal from the BMCC via SDI? Would be weird if it didn't but the BMCC's SDI is qwerky. 2) Does the video assist take an SDI signal and output HDMI? In other words, input from BMCC and output to flatscreen TV or monitor. 3) Does the VA downscale from the URSA Mini 4.6K while shooting RAW.... kidding.

Well I have used LOTS of cameras and never experienced noise and color shifts the way he is experiencing it.  

It seems to me that Trevor's point is being missed. The 'kind' of noise and the strange color shifts are just as if not more troublesome than the amount of noise. Not to mention that even though Andrews explanation has the ring of truth to it, my gut tells me there's something funky happening there too. He may have a faulty unit. Anyone else experiencing these issues?

Premiere. I eventually want to move to Resolve but it's such a mind bender for me.

My question is, how much tracking is involved and how does that look? The grading of 1 frame is hard enough, but with a moving camera or tracking the motion of something on screen, that complicates it right? I would like to see this.

yes but that's more expensive than buying a hundred foot extension cord for less than $20 and divided by 4, each fixtures cord will be $5 (plus $2 three prong plug), and it'll be 25 feet long, which is super duper handy. Even if I were just making 1 fixture I'd still buy a cheap 25 foot extension cord and just cut off the end. I did your way first, but then realized I wanted the longer cable. 

Here goes. And also going to add this to the original post.

What I am most proud of is the design of the fixture itself. The bulbs can be replaced as LED tech improves and becomes less expensive. I like the bulbs I have, but if in a year or so inexpensive higher CRI bulbs become available I will replace mine if they are indeed an improvement. The bulbs I used are no longer available online (though the maker will still sell them to me at a massive discount). But I believe any ballast compatible LED bulbs will do. 

1. I used a steel stud track cut 48" as the main chassis. All the parts are attached to this. A steel stud (cut to roughly 46") fits perfectly into the track to close off the fixture and keep all the unsightly innards out of view. 
2. I used a 6" Impact Baby Pin. I don't like the Avenger ones. I line the baby pin centered in the fixture, mark and drill the holes. 
3. The ballast I used was this one. But there are bunches that are same basic price and size. This ballast fits nicely centered in between the bolts from the baby pin. Mark and drill holes for the ballast.
4. I used these tombstones. That's for a pack of 10, you'll need 6 for 1 fixture. 3 tombstones side by side fit snuggly into the end of the steel track chassis. My second batch of tombstones needed a little sanding on each side to fit. Like I said, they fit pretty, very, snuggly. Place 3 in on each side of fixture so they fit right to the end. Mark and drill 1 hole for each tombstone. You'll need an additional nut or washers in between the tombstone and the fixture (as a spacer) to get it a bit higher.
5. I used 3 of these switches from Home Depot. Mark and drill a hole for each. These switches interrupt the 3 same colored lines coming from the ballast, and then go to the tombstones at one end of the fixture. One switch per tombstone. I am not an electrical engineer, so it's possible there are better suited switches for this particular load, but these work for me.
6. I used a clamp connector from Home Depot. I forget the exact size, but the smallest one. Mark and drill hole. You will probably need a 7/8" hole saw, but maybe there's more than one way to do this. This connector is for the main power cable.
7. For the power cable I just used an extension cord. I new I was going to make a few so I bought a hundred footer and cut it into 4 lengths.This was the cheapest route. And bought 3 prong plugs to attach to the cords that needed it. 
8. I would drill all the holes first. Then attach the hardware. Takes me a little over an hour to do this. Then do the wiring, which is pretty easy. I also laid down some duct tape inside the steel stud track for additional shielding. I think this is a good idea. Once everything is connected, put your bulbs (T8 LED ballast compatible) in to test it. If all is well, remove bulbs, insert steel stud to cover up the wiring and screw that in. Insert bulbs again and then use gaffers tape at the ends to hold bulbs in place and cover up the ends and tombstones. Takes me just over 2 hours. 
9. One quick note: sometimes the bulbs will glow (very slightly) even when in the off position. Could be from the switches or an electromagnetic field or something. Haven't been able to solve this, but it doesn't affect my lighting at all as it is so minor. Also, unless you discover otherwise, using the ballast and the ballast compatible bulbs are 100% necessary. I have found these are the only ones that do not result in flicker and banding problems. Good luck.

Yes. Soon.

Ok. This finally has me thinking a bit now. 4.5k red Raven is a different story. Thoughts?

http://www.reduser.net/forum/showthread.php?137489-Raven-Everything-Just-Changed

Also, just added updated spec sheet to the original post (page 1).

The problem with this is that the lights will look like crap and will be frail. If that's not important then go for it. 

it's for the fixture in the photos above, including the bulbs. Each fixture + bulbs costs roughly $150 to build. 

Edit: and btw, I had seen the video you posted. One of my first prototypes was a light of that style, though mine was made out of aluminum not wood. For me those lights require too much tedious work, soldering and what not. For that style of light I think paying for the aputure lights are probably the way to go.  They seem way more powerful and better quality lighting than what you'd end up with if you built them yourself. In my case, I don't know that anyone is making 4ft lights, which creates a very nice soft large light source. 

CRI is a very fuzzy science. One light's 95 is not equivalent to another's 95. In fact, in some cases a 77 CRI will photograph better than a 90 because the CRI rating is determined using the entire light spectrum and may do well in some frequencies and poorly in others. A camera sensor uses only rgb and different color science complicates the matter further. In general higher CRI is preferred, but not a litmus test. In my case, my lights (85 CRI) are beautiful once the tint slider is nudged to the right.