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herakel

BM or Red?

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6 hours ago, enny said:

well twixor is nice but it also creates problems if you don't shoot right in camera slow mo is always better looking.

on youtube no one will tell it from Alexa. Oh common now you can totally tell the difference when you use alexa and master primes grading ect ect

 

oh yeah? wanna try? i'll shoot one for you to have some fun :)

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7 hours ago, herakel said:

Yes, BMPCC is to small/light weight for Ronin. It does work however, i recently shoot a shortmovie with this combination. But its far from ideal, i can tell you. 

 

Investing in lenses is a good idea. However, the ones i have are good and fullfill my needs. Micro cinema camera is a good(and cheap) alternative wich im considering. 

If it is "too light" (for the Ronin) that is certainly not a problem!! Throw on a big battery pack for the BMPCC. Or rails and a wireless follow focus as well for the BMPCC.
Or do both.

Then its weight will be up higher to meet the minimum! Not a problem.

Or you could just get a lighter weight gimbal :-D

7 hours ago, enny said:

ursa mini or red if i head to pick man same price even if red in 1000 more i would go red all the way. Lots of people have problems just google it with ursa it like they release the camera you buy it and then over time it will get to what they promise in the first place with updates and fixes. Reds have great history and are workhorses specially red 1 and red one mx are still great cameras. and can be found for under 4k. There was guys selling fully loaded red mx with 2 master prime red lenses for 10k what a deal.

I wouldn't exactly call RED's history a "great history"!!! :-o
It is a very checkered history that RED has had, with lots of downs, along with a few ups, along its rollercoaster ride.

A RED Raven wouldn't just be a $1,000 more than an URSA Mini, is much more than that.
And vs the new 4.6K sensor from BMD I expect the BMD to rate better.
If comparing vs RED's MX sensor.... hmmm.... well nah, I prefer the BMPCC or F3 sensor over that old MX sensor.

 

However... having said that, if I came across an *INSANELY* good deal on a RED One MX, then I'd probably get it.

But a RED Scarlet MX? Nah, even if it was an "insane" deal I'd probably regard it as too overpriced for me (when I could go for an FS7 or URSA Mini instead for not much more. A Scarlet MX would have to be priced at an doubly insanely good deal! haha)

 

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7 hours ago, enny said:

well twixor is nice but it also creates problems if you don't shoot right in camera slow mo is always better looking.

on youtube no one will tell it from Alexa. Oh common now you can totally tell the difference when you use alexa and master primes grading ect ect

 

I work on a lot of youtube content that is shot on the Alexa (often with Master Primes, i4s, Summilux, etc.). No one is calling it out as being shot on the Alexa, but it the extra polish is appreciated by clients and audiences.

The other reason is simply workflow: it's what crews what on set and it's what is easiest to work with in post. This is also why it's popular in TV. A one-man-band or camera-specific post house can get by okay with something less.

One thing to consider with Red is that the cost of entry is much higher than just the camera body. The Red cameras are $30k like the Alexa Mini is $30k, and I would argue Red is much more taxing in post. 

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3 hours ago, bzpop said:

oh yeah? wanna try? i'll shoot one for you to have some fun :)

Some examples I look for when shooting for twixor Alternate Motions, Specular Highlights, Duplicated Frame, Limited Reach, Noise and Compression Artifacts and my fev Picket Fence problem twixor is nice but to say that it is a solution with no problems where you can just take any camera and just shoot what ever is not reality

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2 hours ago, enny said:

Some examples I look for when shooting for twixor Alternate Motions, Specular Highlights, Duplicated Frame, Limited Reach, Noise and Compression Artifacts and my fev Picket Fence problem twixor is nice but to say that it is a solution with no problems where you can just take any camera and just shoot what ever is not reality

I'll echo this. Twixtor is great but I've used it extensively and there's no way it replicates actual slow mo. It's great if the shutter is cranked and the subject is passing in front of a plain background. You can do some amazing things in those circumstances.

Any time the subject is passing front of a complicated background (ie: picket fence like you said) or there's an object that's moving really fast (ie: limbs with sports footage), it will not look great at all. 

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On ‎3‎/‎4‎/‎2016 at 5:29 AM, Cinegain said:

What are the views here on Kinefinity in this situation? It does do RAW... It's 4K (or 6)... does have HFR FHD...

Frame_Rates_Kinemini_zps8928e105.gif

EU Stores: http://www.kinefinity.tv/buy/ .

Kinefinity for me is stuck in a little bit of a "Chicken and Egg Situation", as it looks great the specs and the footage, buuuuut.... the lack of people using it, means there is not much of a community to call on for help or to learn from. Neither does it have the brand name awareness that other brands have, like RED or even BMD!!

So if you feel like taking an the challenge of an uphill battle with a Kinefinity then you could find great potential here!

But I'd rather go for a BMD URSA Mini 4.6K instead.

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On 2016-03-04 at 2:04 PM, enny said:

 to say that it is a solution with no problems where you can just take any camera and just shoot what ever is not reality

of course no, but i wasn't talking about  just shooting whatever you want, i was talking about  60p 1/120th;

yeah, it would be nice just to shoot it on Phantom, but we here talking about budget (key word) music video solutions :), aren't we?

so watch your background, light and expose your shot properly, tell your artist not to make any fast movements, in short - direct your shot , and you'll be fine down to 20% of the speed which is what, 300fps?,

this is not just theory, i've done this many times and with very good looking results

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