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  1. The pG UB1 bridgeplate is for 19mm rods and compatible with all Red cameras, Arri Alexa Studio, Arriflex 235, Arriflex D-21, Arriflex 435, Sony F23, Sony F35, Sony F65, SI-2K, Phantom and Weisscam HS-2. Its a european quality product made in the Netherlands for a fair price. 

I've also 12" rods and dovetails for sale. See my website for more information: www.petergosens.com .
  2. hi ppl ! Kindly give me 30 secs of ur time and tell me what u think of my movie teaser ! shot on RED as well as ALEXA. graded on Davinci resolve. and made with lot of love !!! http://www.youtube.com/watch?v=2uI9TbmqvvU
  3. 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!
  4. I am color grading Red epic footage and was looking for the best workflow option since time remapping (slowing down/speeding up clips) is needed for some of the clips. I know the current Davinci Resolve 9 does not accept xml files with time remapping done in premiere. Storage space and time is not the biggest issue for me. Im more concerned with getting the best color grade and highest quality image from my camera since im going to be integrating VFx work and green screen for some of the clips.
  5. 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
  6. Hi. Most of my narrative films are shot on RED camera´s. I have a job where we might shoot on Arri Alexa camera. I heart that post production and color correction is easier with Alexa. Any in here with great experience with the Alexa workflow:-)? Best, Henrik A. Meyer. www.henrikameyer.com
  7. 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,
  8. 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!
  9. 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.
  10. I'm shooting a short period drama in February 2013 in Thurso, Scotland. This is right at the top of the country! I was wondering whether anyone could give me some advice on shooting in such cold conditions. General tips/lessons learned/ dos and donts. I've never shot anything in sub zero temperatures and gale force winds - the last thing I want is to be losing/ breaking a HMI or camera. Just want to be really prepared so any advice would be greatly appreciated. Thanks, Dan
  11. Hi all, this is the international trailer to my first theatrically released feature film Bela Kiss: Prologue. It currently runs in German theaters. http://www.bela-kiss.com/#en_trailer Staring Kristina Klebe and Rudolf Martin, it was shot mainly on location in Germany, using a Red One camera with Zeiss High Speed lenses. The "found footage" sequences are shot on 16mm black and white reversal with a Bolex H16. It was an independent production with a fairly low budget. Please feel free to comment. Sven
  12. I am a low budget Indie Film Maker. Please advice 1. Which HD Camera - ARRIE or RED or Panasonic etc gives the BEST RESOLUTION? 2. For screening in a Theatre which uses Film prints what is the most cost effective way to print films to show in theatre screen Your help in explaining the process is highly appreciated
  13. The quick release bridgeplate is compatible with Arri camera's (like the alexa) and the Red One. It goes for 299 euros. For the Red Scarlet and Epic you need an additional bottom plate. For the Arri Alexa you need the plate that already comes with the camera. You can also use it as a more heavy weight rods system for your big zoom lenzes on the Canon C300. For this several options are available. Just ask if you want to know more. I also have 12" Rods 19mm that go for 25 euros each. Have a look at my website www.petergosens.com to for more info.
  14. I have an opportunity to pick up a clean set of these 5 lenses for $12.8K for use with my Sony PMW F3. I know they are external focusing and even the focus ring moves forward, as well as being big beasts. Great bokeh and no breathing that I can see. But the price seems very interesting. Any other opinions ? Trying to see if it would be wiser to go with either Duclos Zeiss ZF.2's or Compact Primes instead, as I own a Canon 5D Mark III and often have shoots where we are mixing RED, my Sony PMW F3 and DSLR's. One thing purchasing would mean, would be to find a more solid follow focus and a matte box with a large enough rear opening. Chrosziel provides a package for dealing with the barreling issue: http://www.chrosziel...&wpid=115&sid=0 However, the matte box is reported to be cheap and easy to crack and I am wondering about that follow focus compared to O'Connor and ARRI, being that it starts to fall into the same price range. I still shoot a lot of DSLR though too, so I have been looking at the O'Connor DM with both photo and Cine wheels, but ARRI remains the standard as usual. I really need/like the idea of different transmission ratios depending on whether I am using photo or cine lenses. Any other contenders out there for mixed gear / transmission ratios at a less expensive price point?
  15. 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
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