Stephen Williams

Hi Brian, I just heard from Jarred the Visual Products BNCR mount is good to go, It's Sunday & they are still working at RED! From the tests I have done Full 5K is way better than 4k & that's for an HD finish. I really was not expecting that to be the case. Best Stephen Just bought it on Ebay!

Always shoot 4k, False colour works fine, when you are comfortable a light meter works as well. Please don't double post, I will delete the other thread

Hopefully, nothing BNCR is approved yet. As the 24mm - 135mm Ultracam lenses (Ex Contax Zeiss) cover FF35 they will be very useful. I have ordered an approved Nikon mount from Optitek that I will use for FX & 2nd Unit plates. My Cooke Zooms cover 5K 2:1 when cropped 16 x 9. However I do need lenses with full coverage. I do a lot of product shot work & was hoping to take stills from the motion for print. The 75MB Tiff files look quite impressive!

I think it's better! Without Red One there would not be Epic , Alexa or the F65. 3 Great cameras all under $100k,

It’s early days & this is what I really like:- 1) Build quality is first class, well above expectations- 2) The PL mount is the best made mount I have ever seen, quite a work of art. 3) The camera boot’s up quickly in aeound 7-8 seconds. 4) The camera camera does not get very hot, therefore the Red Brick batteries last several hours. 5) Touch screen menu’s are very easy to navigate. 6) Redmote again very quick & easy to use. 7) The HD video out is high quality 8) The 2k images at 300fps are far better than I expected. 9) The camera ISO matches my light meter, so setting the stop is very quick 10) Small & light 11) HDRx 12) Being able to View footage (in proxies) from Redcine-X or Premiere Pro with no transcoding on a cheap laptop. I must add that all the people at Red HQ have been really helpful, camera shipped the day the money arrived. Really most impressive.

Hi, This is a real name forum, please change user name to your real name. Thanks Stephen

That was tried 30 years ago, did not work then.

Very interested if it can target track, if not it's just a door stop IMHO.

I believe the crew of 'American Graffiti' did OK, who is the director LOL!

The film gate holds the film for exposure, the gate can be 2,3,or 4 perf for 35mm. A 4 perf could be silent (AKA Super 35) or Academy. Sometimes masks were put in gates. If you look on the Arri website they list the masks & ground glasses available.

The terms Married Print or double head when there was a seperate sound track were common in London during the late 70's .

Clasic Cooke look, if you have used a Cooke zoom before you will know what to expect, slightly soft wide open, very sharp stopped down 1-2 stops.

Camera & possibly lens needs to be collimated. A good rental house will have the equipment to do this before every rental.

Somebody updated the mount on a rackover mitchell?

I think you will find the FFD is different, the Super Baltar's can be used with a reflex camera.

If you install Expat Shield you will be able to view it as the BBC will think your in the UK.

Pretty sure it's the foam in the Pleican casse.

I still think it's nearer 120, 135 is too zoomed in, there is huge head room. I tried to match the head sizes exactly. S35 does not have a sound track & can't be projected in a normal theatre as it's SUPER nor regular. R35 would be 35mm Projevtion area 1.185 then there is room for a soundtrack need to zoom out a bit nearer 100mm IMHO.

Wrong settings try 35mm Super 3 + 4 perf - 1.78 then it will all make sense. I have the advantage that I shoot 35mm film most weeks! You might wast to look at 4k RED, the lenses will be even wider as the recorded area is smaller than S35. I would also say that the face size does not match, your too zoomed in on the pcam.

My money is on (if such lengths existed) 120 75 45 25 Of course they are very close for FF35 which is what I said earlier, I rest my case.

Pcam is spot on, if you know format size & focal length there is nothing to go wrong. It^s the DOP's job to know the lenses for the camera he is using, how could he possibly direct the other units if he did not know what was going on. I have been matching motion control to 3D for 25 years, it's never easy, takes time & patients to do well. Zoom lenses can be a nightmare & primes are rarely exactly the focal length written on them. The no's people want & need are the real world no's not a conversion to something else by someone who may have never worked on S35 film.

Where is Tom?

Normally Equivalent calculations are to FF35 so people 'knoe what there doing' If you have an Iphone with Pcam you can do a simulation, what I said matches the simulation, it's roughly the same as my Nikon D300 so I think there right. As you can see it would be much easier just to read off the aczual focal length of the camera at the time! It's just easier & more professional if people just learnt what they were doing & did not convert to something else. Why is it of any importance what the lens would have been on another camera system that your not using? I just get bored of answering questions from people who have problems with doing conversions!

If a DOP does not know what focal length to ask the assistant to put on the camera, he will be replaced very quickly. The AC will be laughing at you. Assuming he has shot S16mm he will have no problem with HDTV 2/3 focal lengths as they are close. Your confusion is the equivalent lens relates to FF 35mm Still photography NOT S35 motion picture, so it's less help than you think. Bear in mind that other than in Newspaper & wildlife photography FF 35mm was an amateur format, pros shot 6 x 6 or bigger. A 'standard' lens for S35 is approx 32mm, FF roughly 50mm S16 roughly 15mm 6x6 roughly 85mm. FWIW the last shot with a 28mm lens S35 as about right for FOV 1.00m -1.10m range, however it's does not 'look like' a 28mm lens was used on a S35 camera. The first shot would equate to approx 120mm

In theory yes, in practice no. 2 lenses of different manufacture will be different, even 2 lenses 1 serial no apart. There is no convebtion to refer to 35mm focal lengths, this is made up by fools who have no idea what they are talking about. If I shoot 16mm motion, 35mm motion, 35mm Anamorphic, 35mm stills or 6x6 cm, 6 x9 cm, I put the relevant lens on the camera I want I don't convert, but I have been shooting for 30 + years long before small chip photo cameras came on the market.