Tom Lowe

Okay, smartypants, you win. :P But the point remains. Just because you might need to stop down a FF35 camera to control DOF, that does not automatically mean you need a bigger lighting package. If Red One is rated at 320, for example, I will not be surprised at all if Monstro FF35 offers double, triple, even quadruple the sensitivity. Like I said, I shoot at ISO 3200 5.6K RAW all the time, so I don't see why Jannard would be unable to make very significant gains in this area with his future CMOS cameras. Again, the point is, with this large RAW frame, we should EXPECT significant gains in ASA/ISO performance. It's basically a given.

Lol. Listen here you old film relics :lol: , I was trying to make a point that we have to change we think even about ISO/ASA ratings. Semler shot parts of Apocalypto at "ASA 2560." Is that a traditional film ASA rating? The point is, I was responding to someone who said they would have to double or triple their lighting package. My point was: not if you can crank up the sensitivity. I shoot at ISO 3200 all the time now, and the quality is amazing. Times are changing, my friends. Don't resist the future. ;)

lol we will see who gets the last laugh on ff35 :)

Let's revisit this post of yours in a year or two and see who was right -- you or me. ;) Your post represents the exact polar opposite of my thinking on this subject. For example you say: Or how about simply switching from ISO 300 to ISO 600, or ISO 900? Again, let's revisit this post in a year or two.

Scott, if you want to finish your project and display it at 4K, then 6K is not some fancy option or marketing ploy; it is absolutely necessary. If you believe, as many of us do, that 4K is the next gold standard for display, then you need to be shooting on a 6K Bayer camera or 4K+ RGB.

David, even if the alternative was TIFF, nearly all professional photographers would still be using RAW. Trust me on that. I think you underestimate the benefits of RAW. For starters, color correction/temp under RAW is a totally different ballgame than with "burned in" images. You can use exposure, color temp, sharpening, saturation channels, etc, in RAW to greatly enhance photos. I mean really. Do you guys think that all these pro photographers are shooting RAW just for their health? It's a huge pain in the ass to shoot RAW. Professional photographers have come to love the RAW format. To somehow diminish or dismiss RAW makes no sense to me. Are all these thousands of photographers and photo editors simply delusional, as Keith suggests? If anyone wants to know what RAW 6K FF35 24p footage is going to look like, go buy a Canon 5D Mark II and shoot some timelapse sequences. Your jaw will hit the floor when you render out 4K or 1080p. The quality is beyond astonishing -- beyond spectacular. That is why I am 100% certain that RAW 6K FF35 is the next big thing, where cinema is headed.

Lol, Stephen and Keith, are you guys sticking to the old story that what happens in the stills photography world does not relate to cinema? Because that theory is already flying out the window. Why do you think that nearly all still photographers are shooting digital full-frame RAW now? Just for fun? You think motion cinema photographers will somehow be immune to the benefits of digital RAW? That's just silliness, IMO. Do you really want to bet against digital RAW? Do you want to come back to this forum in a couple of years and have to defend your statements dismissing RAW? :)

Nearly all serious still photogs shoot raw.

I'm not sure why people are directing criticisms of Red One toward me. Why? I have never had much interest in that camera, and I am fully aware of its limitations. I don't own one, don't shoot on one, etc. I have always thought R1 was really a prototype, and that Jim's second offering would be the game changer -- the "film slayer." The fact that Jim could put out a prototype and make this much impact speaks volumes about what he's going to do with his first fully realized offering -- Epic and DSMC. He's being quiet about it and taking enough time to get it right. Believe me, this is the calm before the storm. The initial Epic was announced quite some time back, and several of us at Reduser spent significant amounts of time and effort lobbying for various features, not the least of which was full-frame 35mm -- what we called then "Digital Vista Vision." Many people mocked the idea of digital vista vision. They are not mocking it any more. People started posting about the Red at DVXuser back in 2006, Keith. Yes, it's been "years." Rival companies will underestimate the impact of Epic at their own peril. To me, it' as clear as a sunny day right after it rained the night before -- the future of motion cinema is 6K+ FF35 RAW.

I guess unique lenses, service, top-notch cameras.... there are a lot of things to admire about Panavision. But their model will probably have to change. Maybe chapter 11 could clear their books, for starters. I don't know. In all fairness, I never thought or predicted that Red One was the film slayer. Going back years, I have always maintained that Red's second offering, Epic, would be the nail in the coffin for film. But of course Genesis, Viper, Arri, and Sony's offerings have all been pounding away at this. It was interesting to read in the article how quickly digital has taken over TV shows. I think Epic and DSMC's impact on the business will be far greater than many are even predicting right now. I could be wrong. We'll see.

Yeah, but if they designed their own modular digital camera from the ground up, they would probably be reinventing the same wheel that Jannard has been hard at work on now for years -- with a huge head start. Red has been quiet for over 6 months now, but this is simply the calm before a huge storm. IMO, Panavision would be wise to pivot on a dime and embrace DSMC as one of its platforms. Why fight what's coming? A lot of people dismissed claims that Epic would be the ultimate "film slayer" but I doubt there are many skeptics left. I do think you make a great suggestion, though, David, with respect to Canon. Canon has the ability to compete quickly with Jim Jannard. They possess incredible technology and resources.

Panavision has the expertise, for example, to quickly put together an amazing set of cinema primes and zooms for full-frame 35mm (Vista Vision), which IMHO is clearly the way that things are headed. Red might be building the camera, but Panavision can provide everything else.

And this comes as a surprise to... anyone? This is exactly what many of us have been predicting publicly for years. Panavision is an amazing company, but obviously they have dropped the ball now. If Panavision was smart, they would invest heavily in Red's new DSMC Epic.

Some of this was shot at 720p, though. Are you able to see the difference in stuff that was shot at 720p (Varicam) vs F900 1080p? I have seen Planet Earth at 1080p (Bluray) and 720p (HDTV), and didn't notice a big difference. Obviously Baraka and Casablanca will be on this list. Malick's The New World will be coming to Bluray this fall. I'd love to see some films like Apocalypse Now and In the Mood hit Bluray. Has Braveheart been out on Bluray? Legends of the Fall?

Probably a little late for this, but have you considered replacing the EX1 with a Canon 5D Mark II? The battery life and CF card record times are astonishing with that camera, not to mention its incredible portability and low-light sensitivity. You can record to 32gb Transcend CF cards that cost $70 USD, then dump the CF cards to Nexto portable harddrive devices that do not require a laptop. I would bring a solar unit. Maybe check out Brunton: http://www.brunton.com/catalog.php?cat=8

This seems like a colorspace issue. You are saying that the JPEGs look fine in the exported folder, so it cannot be an export issue. You need to make sure the colorspace of the project in FCP matches the export colorspace. If you have After Effects, you can ingest the RAW files into AE, process them with ACR, then export to Prores or some other intermeditate to import into your NLE. That might possibly fix your problem.

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Oh and BTW, not only should 1080p downloads cost $5, but Bluray discs should as well. What does it cost to mass produce those? Something like 60 cents, if I recall. If Sony is charging high fees for Bluray, then maybe 6 bucks. If they sold Bluray discs for 5 bucks, the number of discs sold would increase by astronomical amounts, and more people would own legal copies of films they love. Piracy of 1080p material would be reduced to near nothing, since a 1080p download takes a very long time, even over a fast connection. But once again, this would be WAY too logical for movie industry executives to consider.

Michael Bay actually uses magic hour frequently for his money shots. :huh:

The deserts near Vegas would work. Or Lone Pine, CA. Or some rocky mountains with little vegetation somewhere near you.

Come on, Freya! You can do better than this. At least hit us with some gorgeous screencaps or something! :lol:

If a Bluray sells for 25 bucks, and a fast, secure, legal, non-DRM'd download of 1080p was available, I bet you would not only sell five times as many copies, you would sell ten times as many. Plus you would remove the motivation for a lot of pirates. But of course, this is WAY too logical for the idiots in the entertainment industry to grasp.

I like the term. When you work on a project you are "shooting" it, so I don't see the issue. You shoot movies, you shoot commercials, you shoot stock footage, you shoot music videos, etc.

I wonder why so few are putting John Toll on their lists?

I just watched this film for the first time. Very powerful framing, and art direction. The sense of the uselessness of Gong Li's character's life is conveyed so clearly by the dull light shining into her room when it's not lit by the lanterns. Though the buildings were beautiful, they were photographed as if they were prisons. This is yet another example of Asian films using mostly locked-off tripod shots to great effect. It's interesting to note the similarities between Gong Li in this movie, and Zhang Ziyi in her early performances. I think this is no coincidence. Though this film has been portrayed as an allegory critical of the communist regime, I felt it was almost more of an exercise in existentialist thought. The ending seems like something straight out of a Dostoyevsky novel. A superb film.