Jump to content

Search the Community

Showing results for tags 'EPIC'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Cinematography Forums
    • General Discussion
    • Cine Marketplace
    • Cameras Systems and Formats
    • Lighting for Film & Video
    • Camera Operating & Gear
    • Camera Assistant / DIT & Gear
    • Grip & Rigging
    • Visual Effects Cinematography
    • Post Production
    • Students, New Filmmakers, Film Schools and Programs
    • Lenses & Lens Accessories
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • Directors and Directing
    • In Production / Behind the Scenes
    • On Screen / Reviews & Observations
    • Business Practices & Producing
    • Camera & Lighting Equipment Resources
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Cinematography News
    • Sound
    • Off Topic
    • Accessories (Deprecated SubForum)
    • Regional Cinematography Groups

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Occupation


Location


My Gear


Specialties

  1. Would it be a good Idea to pull out my student loans to buy the new red scarlet dragon? Currently I'm in my 4th of year of college( it's going to take me 5 years to graduate). I go to a small school in Missouri with 12,000 students and the film department at the school has been weak and disappointing thus far. So almost everything I know about film making and cinematography has been stuff I've had to learn on my own I started cinematography last year and I'm still learning lots of new things about filming/ color grading weekly. 8 months ago I was shooting all my videos on a gopro, then I decided that I need to upgrade my gear if I want to seriously pursue cinematography so I bought a Blackmagic Cinema Camera. Now I want to upgrade my gear again but this time I am going for the best. So I decided to save up and get the Red Dragon Scarlet. I have the great fortune of having College completely paid for. I am really good at track and field so my athletic scholarship pays all my fees and covers my costs of living. So my plan is to just pull out all my student loans for 2 years so I can get a Red Dragon. Personally I don't like having anything hold me back in life. My mindset from playing sports so long has made me become obsessed with the things I do. For the past 3 years I've been able to jump higher and further than everyone in the state of Missouri and I get mad if anybody beats me or get close. I want to aim to be the best at cinematography also. I get angry and frustrated when things are not perfect or close to perfection on video. Ultimately I want to know if this would be a good way to turbo start and give me a great beginning to a life and journey of being a cinematographer? The last video I shot:
  2. Redmote for Red Epic/Scarlet like new condition, only used a handful of times. No scratches or signs of wear $380
  3. Hey, So I am a fairly new cinematographer and as a school project am DOP on a PSA. The director wants to shoot at 240fps which is cool to look at in a dolly out at 35mm lens traveling about 25 feet starting 10 feet away from the subject to (you guessed it) 35 ft away. In 10 seconds. I know the epic can do the frame rate smoothly and all but my real concern is the pockets of light in the background coming from various trees and bushes. I want to use HDRx but have never used it before in a dolly shot. Are the frames in HDRx take at the same time? Will it look more jerky and "flickerish" in post? The ambient level is around f16 the hot spots are f64, shooting at f2.8 with ND 6&9 and HDRx at 4 stops I am hoping to maintain the lighting to be consistan and normal, without hotspots. Is there something I am missing or overlooking
  4. Epic M Kit #297 - 137 hours - - $27,000. Currently Located in Beverly Hills. The camera is in line for the dragon upgrade. Epic Ms have priority upgrades. (1) RED Epic Body with PL Mount and Side SSD (1) RED 5" LCD (1) RED EVF (1) RED Side Handle (1) RedMote (1) RedVolt Charger (1) Side Handle Port Cover (1) EVF Cable (1) Small Red Noga Arm (1) RED 1.8" Reader (1) RED AC Power Adapter (4) RedVolts (4) 128GB 1.8" RedMags (1) 1510 Pelican Case bradleycrane@mac.com
  5. Hi, This is my firts post on this forum so i would like to share with you my recent showreel: Im, 24years old cinematography student from Polish national film school in Łódź. it was shot on 35mm, arri alexa, red epic, red scarlet, sony f3 Watch, and comment :)
  6. I've asked this on numerous forums, but I'm trying to get the widest opinion possible. Working freelance dop/camera at my age, I feel the need to own the camera to obtain most of my jobs. Sucks, but oh well. A lot more people rely on the DOP/Camera op to own their own gear than spending extra on rental. Which is fine. I need a camera anyways. I'm in need of a professional cinema camera that wont let me down and will last me years to come. I shoot music videos, commercials, and films., a lot of times smaller productions where I'm working solo with limited resources. Some things with big budgets and great lighting, sometimes very low budget with limited lighting. I have a budget, but I can break it if its worth it. Being young still, it would be the biggest expense. Other may think I'm crazy. But I need it for business. To make money and not just own a camera to be a big shot. Sony F5 + R5 - $35,000 Sony F55 - $28,500 Scarlet + Dragon + Motion Mount - $35,00 Epic + Motion Mount - $35,500 *Epic + Dragon + Motion Mount - $45,000 *Arri Alexa HD - $50-65,000 *WAY over my budget, but may be worth it? The Sony F55 seems to be the cheapest. Has great features (Global Shutter), but no raw, unless paired with R5 recorder bringing it to about $37,000. In a way, these cameras are almost the same price. Give or take a few. Id love to get the cheapest one and get accessories for it, which id still need. PROS: Sony F5 + R5 - high frame rates, raw Sony F55 - Cheapest, global shutter, high frame rates Scarlet + Dragon + motion mount - High DR, global shutter, raw, most popular choice Epic + Motion Mount - High frame rates, global shutter, raw, most popular choice Epic + Dragon + Motion Mount - High frame rates, High DR, global shutter, raw, most popular choice Arri Alexa - Best overall image?, raw?, high frame rates? CONS: Sony F5 + R5 - No global shutter, not as well known :mellow: Sony F55 - No Raw, not as well known :mellow: Scarlet + Dragon + motion mount - Noise, Limited frame rates, many user problems <_< Epic + Motion Mount - Noise, many user problems <_< Epic + Dragon + Motion Mount - Noise, many user problems, High in price! :( Arri Alexa - unknown about arriraw, no global shutter, HIGHEST in price :angry: Id get the Sony, F55 or F5 + R5, but it isnt that well known. Isnt as in demand as I hoped for. If its all quiet and not used for cinema as much as broadcast, Id probably want to go a different route like RED as they are well known and used in cinema primarily. But performance is a let down.
  7. Whether you are considering your options for you next TV Commercial, Music Video, or Corporate video you owe it to yourself to explore the 4k camera options. Everyone would like the best quality. However, budgets can limit it. Many might be surprised to find out the cost that goes with the 4k cameras is not that prohibitive. It is definitely true, especially now with newer, better, and less expensive cameras coming on the market. A warning, just because you have one of the 4k cameras, it does not mean the final product is going to be substantially better. Lenses, lighting, and your camera operator all determine the quality of the final piece. You must have the proper gear and crew to realize the quality increase. With that said, here are some benefits to going with a 4k camera. First, what is 4k? The actual term is Ultra High Definition (Ultra HD) as oppose to just High Definition (HD). A typical HD Camera shoots in 1920 X 1080 pixels (or close to it). The Red Scarlet, a popular Ultra HD camera, shoots in 4096 x 2160 pixels. To sum it up, an Ultra HD Camera gives you 4 times the pixel output of an HD Camera, which means it is far more detailed and produces a sharper image. As another point of reference, the now almost completely irrelevant Standard Definition (SD) Cameras shoot at a resolution of 720 X 480 pixels. Plainly put, Ultra HD is better than regular HD, much like HD was better than SD. This makes it easier to conclude that you will see major quality improvements. Here are other reasons to consider 4k: Future proofing your content – The future is here with Ultra HD TVs already on the market. They are currently a little pricy, but you can expect prices to come down and more options to come on the market. Ultra HD players are currently being developed (no standard like Blu-ray), while YouTube and Netflix are already capable of streaming Ultra HD content. Expect broadcaster to follow suit. Even 4k smart phones are being developed like the Samsung Galaxy S5. Reframing – Since most of the final video projects get down converted to HD, you'll have a greater ability to zoom in, crop, and manipulate your footage without degrading the quality. If you want the final video in 4k, you lose the value of this method, unless you are shooting with a camera that has a resolution equal to or greater than 5k. Color Grading Made Easier – When cameras record highly compressed images in camera that often comes with the drawbacks of clipped highlights, crushed shadows and what is considered a "baked-in" look. Once the footage gets to post production, this can mean big problems. With 4k+ RAW files, you can make your own color choices from the source data, instead of trying to change colors that are baked into a .mov file. This can lead to much better results. Green Screen Keying - With four times the data, your keying software should have an easier time differentiating the green pixels you want to key from the precise edge of the talent. It also makes mismatches between background and subject more obvious and motion tracking easier. There's a reason why chroma key shots are often done with UHD or higher cameras even if the rest of a movie is captured on a different (lower resolution) format. There are more benefits I can bring up about 4k, but there are also some negatives such as price, storage, and the need to upgrade equipment to support it. Capacity and processing speed has doubled approximately every two years since the publication of Moore’s Law in 1965, some argue that it doubles faster. This means that technologies will always chase each other and that a data stream that may seem very difficult to handle today may be a smooth, simple process tomorrow. Overall, if you want to give your video, movie, or commercial a longer shelf life or you just want to keep up with the quality output of your competitors, then waiting to upgrade is not an option. Ultra HD Productions LA Ultra HD Productions Las Vegas Ultra HD Productions San Diego
  8. Hi everyone, I've not had to transocde scarlet footage before so I have a question. I feel it may be completly pointless but I'll ask nevertheless. Shooting RAW, at identical fps, is there actually a difference in render times between the two when transcoding dailies? Thanks.
  9. Hello everyone :) I've been doing cinematography on and off for a few years but never had the chance to commit to it completely due to life, acts of god, indecisiveness on what to do with one's self. This year I made the decision to commit. Here's a link to my showreel - I know there's so much to improve and we all know how hard it is to critique your own work so if anyone can spare a few minutes to give any constructive feedback I would appreciate it immensely and if you got a showreel too, I'd be happy to return the favour. Have a great day / night everyone :) - Mark
  10. Hello, I'm going to be shooting my first feature in a few months. It's going to be a low budget project. I'll be wearing multiple hats. Even though I will be working with some great people I like to get 2nd opinions on the best way to approach problems. The first issue is I'll be shooting on epic at 2.35:1. I will also be shooting on the Canon XA20 at 16X9 and 5D at 16X9. The problem is knowing what I'm capturing when shooting 16X9. Obviously when it's in AVID you can apply a 2.35:1 mask, but then it's cutting off your footage. I know END OF WATCH used similar cameras and finished 1.85:1. SNITCH used similar cameras and finished 2.35:1. Even BLACK SWAN finished 2.35:1 and shot scenes with the 7D. I know there is no way they just shot and crossed their fingers that nothing would be cut off when shooting 16X9. There must be some workflow when doing this. I don't want to guess. The bulk of the film will be shot on Epic and then I have found footage with the other 2 cameras. I want the shoot 2.35:1 so what should I do? Also any opinions on the Canon XA20. END OF WATCH used the XA10. I wanted to spend around 2000 for a camera with XLR inputs. Also since its found footage i wanted a fixed lense so I can run and gun and not be pulling focus. Thanks for the help.
  11. 6 year old Angenieux Optimo 15-40mm T2.6 Zoom Lens in perfect condition. This is my lens, privately owned, not parked at a rental house. In Los Angeles. $39,995. contact me at lkarman5@verizon.net if interested.
  12. Hello there, I am a freshmen undergrad in film school and recently got the position to work as a DIT and editor on an upcoming short. The short is a collaborative effort of one of our school clubs where we managed to get together to funds to shoot with an epic. During the shoot, which is coming up this spring, I am to apprentice a professional DIT and learn the ropes. Eventually taking over once I am comfortable with the procedures and so forth. I am also going to be grading and editing the RAW footage. So prior to when my apprenticeship begins I would like to have a firm knowledge of what I am getting myself into. So I was curious if anyone had any articles regarding the DIT workflow and responsibilities of the job. Also I am looking for any articles and info on grading RAW footage which I have experience with in terms of stills, and the RAW editing workflow. Despite going into this without any experience in being a DIT, I am a very adequate editor in Final Cut and Premier. Just to let you know I’m not entirely unqualified for the position. Summary: I am looking for all information, advice, and articles regarding being a DIT to a RED Epic, and grading and editing RAW footage. Thanks!
  13. coming to houston for a music video shoot coming up on the 26th and 27th of this month (may). looking for a 2nd AC to help me out as im by myself as of now. looking like a clapper/loader situation. coming out of LA. shooting red Epic, panavision package, c-series anamorphics. Let me know!!! also could use a camera cart... stevetw103@gmail.com
  14. Hi everyone, I am looking for movies, music videos or commercials shot on EPIC with Hawk Anamorphics V Lite 1.3x. Anyone knows any? Haywire has been shot on RED with Hawks but not the 1.3x. I can find very little work online shot on the V-Lite 1.3x in fact, so any links will be helpful. I want to see if the 1.3x carry the same anamorphic "softness" or if they are sharper. I am worried about excessive halations when paired with EPIC. I am prepping for a feature film right now and the director and I are looking into that option, but would like to see some work prior to getting lenses shipped for tests. Thank you!!
  15. Hi, I have a couple of questions for our next (student) short we will be shooting in the first half of April. At first we wanted to go 16mm (anamorphic), but it's quiet expensive for us. And wide angle anamorphic is a problem with 16mm. We're still thinking about it though. But it's probably going to be the digital way. Now the short is about half and half daylight and nighttime. Probably a bit more at daylight. We're thinking about renting a Red-epic since it's a lot cheaper (than an Alexa). But I'm a bit "scared" for the nighttime shots with the epic. We will be passing neon street lights, in car shots which can get pretty dark, etc. What do you think? Will it be ok? Second question is about post production. We love the (16mm) celluloid organic look, and specially for this film. We were wondering how this is professionally emulated/achieved. Are there a couple of ways? I add professionally since we were thinking about festivals etc. (I read somewhere that adding a random grainy look is okay for youtube videos but not for more serious stuff.) Thanks ahead,
  16. Here is a new music video for the band FUN. that I shot 2 weeks ago. We shot this on EPIC almost entirely with an Optimo 15-40 which had a fair amount of vignetting (although it didnt bother me.) Most of the motorcycle shots were done with a Canon 70-200 with IS turned on. All of the shots with the band were shot 1 day in Seattle and we shot everything else for 2 more days in the LA area. Color correction was done by Prehistoric Digital in Santa Monica. Enjoy! Andrew
  17. CANON 11.5-138mm T/2.5 ZOOM CINEMA LENS SUPER 16 PL for sale ONE OF THE BEST SUPER16 ZOOM LENSES AROUND. SUPERB CONDITIONS. PERFECT GLASS. SMOOTH FOCUS. NEVER RENTED. Lens: 11.5-138 Canon T-Stop: 2.5 Mount: PL Min. Focus: 3ft. 6in. Weight (lbs): 3.75 Front Dia.: 95mm PL Mount. Perfect for Arri and Aaton super16 cameras and digital cinema cameras with sensor size up to Super16 .It works on RED cameras if these are used in 2K resolution (I personally shot a music video in this way and the images looked great). It should be perfect for the new Digital Super16 cameras like the Bolex D16 (http://www.digitalbolex.com/products/bolex-d16/) and the Ikonoskop A-Cam dll (http://www.ikonoskop.com/dii/) with PL adapters, since these have Super16-sized sensor. It should also work on the new Blackmagic Cinema Camera, according to an article on EOSHD.com, where they tested a very similar lens (Canon 8-64 PL) on that camera and it worked well. They only noticed a slight vignette at 8mm but this lens should not have that problem, as its minimum focal length is 11.5mm. See the article here (http://www.eoshd.com/content/9447/hurt-locker-lens-canon-8-64mm-t2-4-pl-zoom-perfect-companion-for-the-blackmagic-cinema-camera) Full details and more photos on BBlist: http://www.bblist.co.uk/item.php?item=34974 GBP 3,300. The lens is located in London - UK. Any inspection welcome. Collection in person is preferred, however I can ship it anywhere (shipping costs not included). For info: hello --at-- mzo --dot-- tv Thank You!
  18. http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=300860063669 SMALL HD DP-4 EVF - GRAB A BARGAIN! - USED FOR ONLY 2 PROJECTS - COST $599.00 + I HAD TO PAY HEFTY DELIVERY AND IMPORT TAX. FULL PACKAGE INCLUDING CANON BATTERY PLATE AND AAA BATTERY PLATE. CONDITION IS LIKE NEW.
  19. Has anyone had trouble using either the Sonnett PCIe Thunderbolt Expansion Chasis or the Magma Thunderbolt Expansion Chasis with a Red Rocket installed?? I am running 10.7.4 Lion, so the OS is not the issue. I get incredibly unpredictable behavior, such as drives ejecting out of nowhere, drives going bad randomly, transcodes failing, and other strange things. I think it may have to do with the newness of Thunderbolt, mixed with high bandwidth processing. Advice? Ideas? Cheers, Joe
×
×
  • Create New...