rory hinds

Hi there I'm selling my Zeiss T2.1 lenses which I have been using on my RED#68. They are MKII with PL Mount in both Feet & Meters 16mm 24mm 32mm 50mm 85mm You can view footage taken with these lenses in my reel at http://www.minefilms.com/html/MineHold.htm and view pictures by downloading the zip files at http://www.sendspace.com/file/w1l01u http://www.sendspace.com/file/zy58ez Coming in a hard case and have new front covers. Asking: $19,000 email me rory"at"minefilms"dot"com

I'm thinking RED sensors design can't give them higher resolution at the same size so they are pushing larger sensors needing larger lenses. Maybe RED will become the specialist camera and I guess the writing is on the wall with the RED 617. I guess my point I'm trying to make is that I'd hope RED could be the S35 production camera but as the sensors have to grow in size I don't see that many productions wanting to change lenses to accommodate RED and then have to deal with the workflow. Another way to look at it is my REDONE just got a new lease of life as the new offerings from RED have missed the ball. All the talk about shooting stills on a motion camera and motion on a still camera has missed the point. Professional photographers will still want a still camera as their tool and DoP will not want to be shooting a production with a still camera. The right tool for job always wins.

From the new RED line up it appears the RED sensor program is one of gaining resolution by making the sensors physically larger. Which would mean having to use new lenses which cover the larger sensors. Fan's are over the moon about this but IMO I don't see this as progress. The industry is set up to shoot S35 and has post processes & delivery formats to handle 2k & 4k. What we need is higher resolution sensors with the same physical size to accommodate industry standard lenses like Zeiss & Cooke. Shooting with a new RED sensor will mean disabling the outer area of the sensor in "window" mode. So your fancy new 6k sensor will only be recording say 4k when you shoot S35. Has the RED sensor design hit a wall? Is the only way forward making physically larger sensors? Do we now have to look at Arri or Sony to offer higher resolution and dynamic range in a sensor that caters to an industry standard size? I do like my REDONE and really enjoy shooting digital 35mm. Messing with my optics I don't like

anyone had experience with using Zeiss Standard Speed T2.1 lenses with the RED? I'm looking at purchasing a set with 16mm, 24mm, 32mm, 50mm & 85mm and have read that the 16, 24 & 32 will have a porthole effect as the exit pupil is too small. Would be great to hear from someone who is using Standards on the RED.

Does anyone know what the F23 and F900 ASA ratings are? I've read 2000 ASA for the F23 with added gain and I'd like to know what the sensor is rated at.

Hi Jim That a great quote... Now get them out to the mortal indy filmmakers and patience reservation holders :-) Regards Rory

Hey Mike I'd say your calculation for Fanboy vs Others is out, judging from REDuser.net it seems to be drowning in a sea of speculation and guesses with cheerleader pompoms and sing song and very little useful information and serious content. I think RED's market is very wide and at the end of the day it will be about the operator not the tool. Anyone can obtain a paint brush or DSLR these days it more what you do with it that counts. I think RED will have less bugs than people would expect as they seem to have an excelent team dedicated full time to the project and are working both sides of production and post production. I guess we don't know what impact RED will have as its all talk at the moment, they really need to delivery the camera to regular reservation holders first. My 2p's worth... Regards Rory

Hi Darrin You would normally do various grades for the different deliverables you have planned. Having difference versions which are optimised for your delivery format. Regards Rory

Thanks for keeping us in the loop Jim. I'm holding out for the Primes and see T Stops as a great investment projection.

Jim thanks so much for pursuing this, I really do think that paying a little extra and being industry standard is worth protecting your investment. Carl how can you call a 4k camera a HD camera? I understand RED have a broad market as the camera is scalable but isn't it a RED Digital Cinema Camera and hasn't RED worked hard at getting top Directors/DoP's on board like Peter Jackson. The point being its a 35mm Digital Cinema camera that can be used as a HD camera, not a HD camera that can be used as a Cinema camera. I don't see Jim going after top 750 or Varicam op's to get their backing. There are loads of B4 lens options for the HD crowd that will be using RED and very few options for 35mm optics.

Hey Thomas The suite is busy and I'm loving grading. We are gearing up for our RED camera so am really looking forward to getting out and shooting 4k. We are set to be the first in the UK to have the camera so can't wait to capture and manipulate the images. The example stills look like the yellow has been pushed a bit and I'd say the colour you are after has a lot to do with the location they are taken in. I'd suggest you show your colourist these examples as most sessions are driven on creative descriptive with no technical standing, its all about expressing your wants and having a good communication with your colourist. I've been colouring 8 years now and the words used to describe looks amazes me still it also does comes down to body language, which I guess is what makes one colourist better than another. Whats your treatment for your video? These beach examples don't look like a very taxing grade. Lets do beers soon, contact me rory@minefilms.com Regards Rory

Hey Thomas How you doing? What are you shooting on? The link just too me to a still, is that what you are after. Regards Rory

Brilliant... we are moving forward :-)

Hi Jim Thanks for answering the important questions here too :-) So how much more would marking the lenses with T Stops add to the cost? Surely its a measuring tool, like Feet or Meters and makes no difference to the quality of the lens. I don't understand how it would add that much more, creating the quality glass without breathing is the hard part and I think pro users will pay more to have professional marking points on the lenses, don't you think so? It does seem strange that RED are doing every thing to make the camera top dog and then will cut corners on the lenses. I'm no lens manufacture but from my understanding a industry standard measuring system can't be that hard to implement. Why not give people the option to either have F or T stops. I know the T number will not be as low as the F number but it will not change the performance of the lens. Please educate me.

Anyone know why RED have decided to go with F stops on their Cinema Lenses and not T Stop. Seems the industry standard is T stop in Cinema Lenses.

Thats excellent news Jim. I can't wait to get out and start shooting. Regards Rory

don't delete me :-)