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jan von krogh

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Everything posted by jan von krogh

  1. its up to 3 meanwhile. i referred to people, not to units of red cameras. anyhow, one of the other red-forum often gets more new posts a day than this redforum in a month. i might be wrong, but one reason for this might be the sometimes slightly unconstructive, biased, emotional and unprofessional attitude some posters here seem to have when it comes to red. This is why i asked if he plans to shoot (or be ac/clapper) on red.
  2. yes, and maybe some more 5 or 10 red reservation holders lurking/reading. however, as i am writing this, there are 780 users logged in on reduser.net. sad for cinematography.com imho. btw: when do you think will you be shooting (or ac) on a red for the first time?
  3. That is wrong. All important improvements and feedbacks were not here, but on the other forums. The management and developers of red left this forum, together with the majority of buyers/reservation holders. This thread is a good example why - Trollposts like this one are not locked down, threads with real information (as hires photos of the camera or links to publications covering the camera) are locked.
  4. i think it will be much better than 35mm film. what do you think? do you see yourself still shooting 35mm photochemical within 3 years? or will you prefer your (rented) viper and go TOTALLY DIGITAL? however. 35mm filmcamera demand is at a minimum, siince even conservative guy as stpehen is shooting mainly digital. to remind the new reader - steven is the "moderator" here. however, 1080p might be just enough for the moderators of this particular subforum- furthermore, they bring evidence any day why red is --- DoPs as the one running this forum hopefully will continue to use their inferior gear. That gives us youngster precisely the timeframe of ~q2/20008 to earn back.
  5. did abel miss the oppurtunity? btw. i think average rental for a 35 mm cam will slightly be reduced. we calculate_ $$ with s35 sensor and optics/lens within 2008. not $$$. including very agressive mails to producers. you know, the "you wouldn´t "dare style. also, we will take clear judgement and position. especially regarding posts in internet forums. important as well. any dop who doesn´t want to work with the gear isn´t acceptable. 1st acs as the vocal minority here (hello max, phil) might get an job offer. however, they pissed of many people, and therefore - i will link their posts. maybe someone will discover their talent. yorick.
  6. You can also try, when using sony hdcam, the ecs/clearscan feature. its designed to record screens/tubes without flicker, and i am not sure if it goes down to 24 and never tested it, however, its worth a try. ps iirc you find that in ->top menu->operation->shutter->ecs (turn on), then toggle shutterspeed to ecs on the front of the camera. have no cameras to check it out right now, all rented out, but it would be interesting to know if that works.
  7. To be totally overprecise, its a 4.9K Bayer-filtered single-sensor camera, which uses 4.5K of its sensor for recording. Active Pixels 4520*2540, Full Array 4900*2580 (or something like that) IIRC.
  8. correct. however, especially in the higher asas, we mainly get more grain resolved (which is helpful) when scanning @4k. 2K processing/d.i./vfx/animation is the huge mayority of all production anyhow. The bottleneck in todays 35mm distribution system is the cinema (and the quality of the distribution copies as well), as all the precious resolution carefully protected so far there usually drops below 2k.
  9. As we often have to match 35mm/16mm/1080p/hdcam together, we - add scanned 35mm grain to match digital material to film or - remove grain from 35mm to match digital, when done correctly, both aquisition methods blend very well. However, with film and sensor based shooting it can be pretty tough to get rid of the inherit artifacts: grain on high asa film, noise produced by electronic gain. So, the texture, or grain, or noise - is a distortion of the image which i can be easily added if called for -after- the images have been shot, but can be highly problematic if shot -in- the image. So i am all for shooting noise/grainfree images - and then add this layer of texture later on, when it is indeed an artistic choice, not a technical limitation.
  10. Hi Mitch, the Wachowski Bros are shooting Speed Racer around the corner in Berlin-Babelsberg with Sonys F23 HDCAM SR - i have been told that they are also using the Phantom 65s side by side, do you know anything of this?
  11. That indeed would be an interesting experiment, with emphasis on experiment - as the optical path and many other aspects of the camera aren´t exactly designed for telecine purposes. For 8mm and 16mm, 4K scanning/telecine is overkill. The resolution is -much- lower. FWIW, most 35mm films we have seen in the recent years have been in 2K D.I and or recording, not 4k. So 4K is rather in the 35mm upperclass. Other filmmakers, who already used RED cameras, have made bold comments: If you shoot at 4K, but want a ?film look?, then you finish at 2K and add some grain. It?s easy. It looks like film. However, if you finish and screen at 4K. the result is like shooting in 65mm, like the old epics used to do. Peter Jackson. However, be aware that the bottleneck is in any case the filmout/copy/projection. Your average 35mm film projecting cinema doesn´t even resolve 2K when screening a typical distribution copy. http://www.cst.fr/IMG/pdf/35mm_resolution_english.pdf
  12. Only the cheaper b/w viewfinder doesn´t show full HD. If you get the HD VFC 30 color viewfinder, you can use the magnify button at its rear to get pixel by pixel focus. Most crews who rent our 750s use the viewfinder for backfocus. Also a 750 can be equipped with several extras. slowshutter - allows for longer exposure times, shooting in extremly dark conditions without noise and blurred motion if necessary. intervall / slowshutter / memory cache - allows timelapses etc on board downconverter - use sd sdi/fbas monitoring wireless audio - as the name says there are more accessories (gps/metadata, paint remote etc) which will make sense once you get used to the camera. some tips: get yourself an memory stick in order to be able to store / load your preset. insist on getting a lens file for maximal quality / control over the lens. have fun.
  13. Mr Jacoby, if you post wrong information, as the one regarding overcranking above, in a public forum, i think it makes sense to correct you. You may call that whatever you want, but as long posters here write false things, as there would be no 1080 out, or you would need the raw port for overcranking, i will correct these false facts.
  14. In that case you have to go with phantom or a red, using the rawport for 60fps 4k. We probably won´t order the raw-port in the batch of the first red cameras. However, what about Arri D20? Panavision Genesis? GV Viper? Sony F23/950/900/750? They all don´t do 4k at all. No longer good enough? The same camera electronics with the same sensor and the same pipeline should shoot images of pretty similar characteristics. However, that remains to be seen and tested. Furthermore - Don´t take it as granted, that all masters will be done in 4k , even when the red camera records the originals in 4k. We for sure have planned several 4k->2k. I am curious if Soderbergh and Bekmambetov will upgrade their REDs to overcranking while shooting Guerillia and Wanted. For 0.x-60fps one uses RED in S35mm mode. From 60-100fps, its S16mm. Good business for our Zeiss S16 1.2/1.3 primes, btw., if one doesn´t have 35mm lenses wide enough and wants to go 60-100fps handheld/steady.
  15. As listed in my profile: mainly production, and outside of our own production, we rent out.
  16. For your information, Mr. Jacoby, when we ordered the camera, -all- 4k was only to the raw port. All overcranking as well. 4k to Compact Flash was announced by RED much later, IBC2006, iirc. We, and all of the first 1000 buyers, had to plan 4K via rawport originally. You are wrong. 2K @ 1-100 fps to Compact Flash or RED Drive is in the camera. Up from 60fps in the announced features when we ordered. Yes, 4K 25fps to compact Flash or RED Drive in the body would be very helpful for non-cinema-projects. RED isn´t sure if they will deliver this in their first camera. However, Mr. Jannard stated: - "We will try to make 4K REDCODE RAW @ 25 fps to CF and RED Drive live as soon as possible."
  17. any delay on hd-sdi out is pure speculation on my part. I wouldn´t be surprised, however, as many digital cinematography cameras show this behaviour. some sdti basing systems even have 3 frames delay. also, more and more 1080p -monitors-, especially lcd, also delay the image. we often shoot "cinerama-style" with several cameras, just recently a ballet with 5760*1080. in such scenarios, and any live -environment, its important to know the inherit delays of the specific camera in use.
  18. Carl Brighton is wrong. In the current design, 1080 4:4:4 and 1080 4:2:2 are available via HD-SDI. 720 via HDMI. this diagram shows the current interconnections. http://www.reduser.net/forum/showthread.php?t=1110 Its live. However fully possible that it has one or two frames delay im my humble opinion.
  19. "If you shoot at 4K, but want a ?film look?, then you finish at 2K and add some grain. It?s easy. It looks like film. However, if you finish and screen at 4K. the result is like shooting in 65mm, like the old epics used to do. It?s pretty exciting, and will have a major impact on indie filming ? but we could see no reason why you couldn?t use these cameras for any type of movie. I?m seriously considering using RED for The Lovely Bones." peter jackson.
  20. on the brighter side, steven, when do you think you will be renting out red cameras for the first time? or will you buy one?
  21. Mr. Jacoby, coming from you, this is a compliment. btw, as you obviously have a hard time reading: its "von" not "van".
  22. "We're shooting RED side by side film. We scanned the film 4k and took both into the Baselight, compared them and then did a filmout of both. When we screened side by side, we literally could not tell the difference. In fact, most people picked the RED footage as film because of a greater dynamic range in the highlights than in the 5218. It's not enough to say it is the best digital image out there. The fact is, finally, we can intercut digital with film. It looked remarkably better than the filmed images. I thought I would never be able to say that" Jon Farhat, VFX Supervisor, "Wanted". so. will this thread be locked by the mod now? its a positive opinion... http://www.imdb.com/name/nm0267331/
  23. have you ever shot with genesis or is this just heresay of yours, stephen. regarding the red camera, if you are interested: we will have a 3 camera setup in nov/dec according to the manufacturer. would you like, as the moderator of this subforum, to be invited? or should we better drop you of the list?
  24. when you quit, there will be only 3 vocal & biased people remaining, down from over three dozens. max "ballhaus bores me to death" jacoby, Keith and this other guy, i dont remember his name. opinion not fact lead people, as the moderator "steven williams" of this forum will be next. or they will be won over by red key personel. i certainly won´t miss your expertise.
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