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Martin Ubilluz

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Martin Ubilluz last won the day on November 24 2016

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  1. Im hosting this anamorphic lens comparison on my site now, it was taken down from the original site. We compared 6 different anamorphic sets on the red camera. There are videos and pictures for each lens and set. Let me know what you think. https://www.mu2pro.com/lens-test/
  2. Im not sure I agree with this I think bartech is the worst and only one motor the DJI and the RT motion are light years ahead of bartech. Right now hands down the best wireless focus unit is the WCU-4 by a long shot . The WCU-4 has really over take preston. For one you don't need an MDR box with new alexas motors plug right into the body and you can daisy chain them. For cameras you can't plug the motors directly in to the body they have a new MDR box that is super small light weight. Also for the and control its all digital you can map so many lenses into it. On top of that you can control the whole camera not just start and stop, you can literally control all functions of the camera through the hand control on alexas. The motors are also so strong and small. Preston is good or was good but everything about it is bulky and old. Especially the motors. By the way theres is nothing wrong with the REDrock its just in a different league, I think its better then a bar tech though. IT all depends on how much money you want to spend , the WCU-4 with 3 motors is about $20k By the way I am selling a red rock wireless focus if needed .
  3. Hello Anwar, If you want to shoot good quality 1000fps footage . Phantom flex is your best option . Either the 2k or 4K option . I own both so I have expirience with it . Generally it depends of the speed of your object or the thing your shooting . The sharpness and crispness will be based on the amount of motion blur the object has . Once you start shooting above 1000fps shutter speed becomes less important because your shooting so many frames that the FPS them selves is elimintating the motion blur . Some times to gain more light we shoot with 360 degree shutter with great results depending on the subject . But usually if you keep to 180 degree shutter you won't have any problems . What subject are you shooting and I can help a little more .
  4. Thats very true statements both of you. I have noticed the same thing Robin, he makes a lot of statements that are far from true other then for the projects he works on. Even though theres multiple more experienced people telling him something different. It also comes back to what I was saying about segregating different types of productions because different methods are used for different type of shows, his methods would deff. not work on many types of productions . Also $250 for a downloader is very low and for Tyler to trust any one to download media with out any type of understanding of how to do a check sum / or media report would be a disaster. It also shows he's far removed from many types of production because here in florida I pay Production assistant $250 a day . It would be crazy to think a downloader who you entrust all the days footage and basically the entire production to some one getting payed $250 or a guy smoking a cigarette out side. Theres nothing wrong with working on lower productions or being a jack of all trades as sometimes like Tyler said its whats needed when your starting out , theres no judgment there . But for that person to say this is how all productions work is not very good. Like i said earlier it docent matter how many productions you have worked on , expirience is not based on quantity.
  5. Even to this day Steven Soderbergh doesn't use DIT . But I'm sure he does use a pro when it comes to the finishing . That's why you have to segregate Tyler because your methods would not work for every thing which is basically what every one is trying to tell you . Like I said nothing you said was confusing your just confused about what happens outside of your world . I guess when everyone's is telling you your wrong your still right . Working on more shows doesn't give you more expirience . Some people work on a show for 8 months of the year but have a whole lot of expirience
  6. Resolution and sharpness is not really an issue . Some of the biggest budget films ever made are shot on Alexa's . I've seen that the higher budget you go resolution is not really an issue as much as quality . Unless your shooting an actal Netflix show that Netflix produces . You should not have any problems . The mini can do UHD wich is about 3.8k The sxt like you said has more frame rates but can also shoot actual 4K res . Although these are just upscaling as the camera really shoots 3.4k and then upscales .
  7. You should segregate because your arguments make no sense for all types of productions . Even your arguments are confusing no wonder your confused on many aspects of production
  8. And you did say you "DIT" now you changed it to a kid downloading footage to make your original statement true . Like your other statements . Your confusing the masters with mastering . Confusing tv shows and doc's with high budget feature films .
  9. Again wasent talking about show or doc's was talking big budget features like you mentioned Roger shooting . im. It surprised about tv shows that common knowledge . All my statements still stand you don't really say much but you typed a lot
  10. He keeps switching from features to tv shows to high school productions to try to prove his point . yes days is a lot most dits can encode in faster then real time things like that . Wouldent be a very good DIT if at the end of the day you didn't have your dailys or proxy files .
  11. No special hardware required to decode full res red footage. Back 10 years ago when I had my first red one camera I was decoding it full res on a cheap computer with a very basic CPU and GPU , took a while though . . You can use any over the counter GPU. Kids use old Mac laptops all the time to export red footage . Also my statement was on editing. I think your getting confused with deliverable vs master . A deliverable could be a h.264 file for Instagram but that would not be the master . If your shooting film the master is the film hence when they release criterion collections or new blu Rays of old films the "re master" them going back to the film sometimes . If you shoot raw then your master and would be raw . I did say master in DCI in my earlier post but I miss spoke . Again I was speaking of large budget features like Roger Deakins normally shoots these days . Anything comparable will shoot in the camera specific raw format like arri raw .. I'll say 98 percent of the time. after editing they will go back to that "master" and do the final color correction and "mastering" if you will on the arri raw or what ever the cameras format is . What the editor does or works with is a different story and a different topic then what I was saying . And I my statement about prores still stands I own both a weapon and an Alexa If I shoot prores 4444 UHD I will get less FPS on export then with a 4K 7:1 .r3d. GPU's are relatively cheap these days and .r3d files rely on GPU. Vs prores . Your thing was on mastering , which is what I was commenting on . What the DIT does , editor does are different they are encoding the "masters" for various reasons . also my
  12. Oh yeah I'm sure they are making proxy of all the files that's for sure for dailys and editing . I hope they make an open gate non RAW option . Do you know something ?? Haha
  13. David , For sure your correct even awsome movie like Drive was pro res. I was referring to his comment about every feature in the last 5 years and then he mentioned Roger Dekins . This type of big budget and all major motion pictures like his are usually 100 percent RAW . Indies like you mentioned of corse will change it up do to budget constraints . I just figured he wrote what he wrote with out doing any actual research
  14. Saw what you said about Rager Dekins , this is not true currently all his latest films were shot in OPEN GATE which you can only shoot in RAW. Feature films don't normally use Pro Res. Where did you get this info because its false. Poisnt m to any feature of that caliber and ill show you them using ARRI RAW. Almost no features were recorded in Pro RES. Also when you speak about masters in Feature films of the level of Dekins . The master files are most certainly not Prores the are DCI complaint files for theaters . Before that they usually masting in a color suite on DPX files or something similar or the native RAW files from the camera. I would ask that you change your post so you don't give too much false information, as people use this site to learn and I have noticed you give a lot of false information. Also if you shooting things on red its easier to edit in the NATIV codec . Prores UHD is harsher and the system then red files .
  15. only netflix does, from what i can see cinemax , amazon, hulu they all still shoot with alexia's so don't think they have the same requirements as netflix. Hbo also still shoots its mast current and biggest shows on alexa so they also don't have that requirement. I think you have some bad information
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