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David Williams

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About David Williams

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  • Occupation
    Cinematographer
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    Melbourne, Australia

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    http://www.davidwilliams.com.au
  1. Steve, you couldn't possibly understand what a T-Stop is, or you would not have asked this question. I wouldn't classify my response as an attack, I was just dumbfounded by such a 2+2=? cinematography question by a working cinematographer, and simply could not work out if you were serious.
  2. This is what we've come too? A self proclaimed cinematographer who doesn't know what a T-Stop is? Please tell me this is tongue in cheek, please...
  3. It's technically "far red", not IR, but yes, same as the Alexa and EX1/3. The same filters that work for them, work for the F3.
  4. Do you know what stop the S16 was shot at? It's only about 2/3 of a stop between the two formats, so if you can get a fast lens on the EX3 and run it 2/3 more open that the S16 was shot at it will match depth at the same field of view. Much easier that clamping a Letus on it, weight, light loss, etc. The other way around FF35 to S16 is 3 stops closed to match too. Other than that, Cine Gamma 1 hold highlights best, turn off detail, Cine colour matrix, and grade to match it in post.
  5. I haven't heard any stories of bad latency yet, hopefully that stays true. I also dislike the dew claw view finder, which worse yet, is unremovable. You can remove the diopter, and then it's flush with the rear end. Someone might make a few bucks with a clip on cap in place of the diopter. Or gaffa... The camera itself is quite sturdy, much like the EX series, looks plasticy, but quite strong. Not a die cast shell, but a good compromise for light/cheap/strong. Mine's coming in a few weeks hopefully. The new Convergent Design Gemini looks to be a nice partner for it.
  6. You don't think those problems are easily addressed with accessories? Much like almost every other digital camera? You can put an Alexa on your shoulder out of the box and shoot all day, but most others have the same problem. Not saying that's OK, just it's very simply addressable in the grand scheme. Then you have the advantage of small size, you won't be hold a RED for long with one hand in a tight space. And Steadicam?
  7. A 25mm focal length on S35 sized sensor is the same as on an EX3. Lenses are lenses, as long as they cover the sensor fully. You mean field of view. The field of view of a 25mm on S35 is about 51 deg, that's about 7mm on a 1/2" sensor. Dividing by 3.5 is close enough. Conveniently, IF you could stop down by 3.5 stops on the 1/2", you would also get the same depth of field on the S35. So, a 7mm length at F2 on the EX3 would look pretty much like 25mm at about F6.7 on the Red. Field of view and depth of field looking much the same.
  8. Just guessing here, but I'd reckon it's a progressive sensor at 29.97P in NTSC or 25P in PAL, but gets recorded in 59.54i or 50i. If you deinterlace it will give perfect progressive images. No doubt a progressive version will arrive soonish. Sony are well know for their market segmentation, using basically the same hardware targeting different users.
  9. In the context of film and video cameras, resolution has always meant resolved lines. With video, removing variables like lens resolution, debayering, etc, you need four times the pixels to gain two times the resolution. You can't redefine common terms just to suit a better marketing line. This in my mind is one of the major causes of antipathy with Red amongst many cinematographers I know. Changing the rules to suit yourself doesn't come across very well in any context.
  10. 1/5 the resolution is another of Reds efforts to redefine common terms to suit themselves. There's a whole thread at reduser with Jim justifying it. Resolution at reduser now means total pixels, not resolved lines as the rest of the world understands it. 5 times sounds far better than the 1.5 or so you might be able to resolve on a resolution chart.
  11. My EX3 is nearly two years old, used daily, and has barely a scratch on it. Some parts and panels are plastic, but much more is actually very light alloys which may seem to feel a bit plastic like but are actually quite rugged. Not as tough as broadcast, but far lighter and cheaper. Kind of an obvious trade off there.
  12. This isn't the Genesis, it's a new sensor not yet in a production camera.
  13. Hiya Josh :) There was an interview with John Galt from PV sometime ago, and he mentioned the Dynamax HDR mode. He used the term exposure when he described it, so you'd think that means shutter speed. The Dynamax has up to six sets of RGB per pixel, so that's six exposures combined into one frame.
  14. An EX3 has around 2 stop greater dynamic range over a 5D. An EX3 will leave the 5D for dead in everything except shallow DoF and low light sensitivity.
  15. So you can support neither assertion then. Thanks.
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