Search the Community
Showing results for tags 'RED'.
-
Sept 15, 2013 I want to shoot my first feature next year. The script is dated thus taking place in the late 50's early 60's. (I will not be the camera person because I rather get an experience cinematoghrapher.) Question: In your opinion, which camera / format would fair best for shooting 50's 60's scenes & night time scenes? Also, which lenses would you recommend? * * Thank you all for sharing your expertise & for your replys * * Tony doowopkid56@yahoo.com
-
Selling three Scarlet-X camera packages. Were purchased for a project that never happen. Two of the cameras have never even been used. The other only as 76 hours of use. All cameras are eligible for the Upgrade program. Buyer pays Red transfer fees. Would like to sell locally in person either in Los Angeles or Denver (I split my time between cities). These are great deals if you are looking to buy. PACKAGE #1 Scarlet - X with Canon AL mount and side SSD (for use with Canon Lenses) BRAND NEW - never been used SERIAL #01303 Includes: - Red Scarlet-X with side SSD and Canon AL mount Camera(retail $10150) - AC Power adapter (DSMC) - RED TOUCH 5.0" LCD (retail $1600) - RED DSMC® Side Handle (retail $950) PACKAGE ASKING PRICE - $9700 (Savings of $3000!) PACKAGE #2 Scarlet - X with PL mount and side SSD BRAND NEW - never been used SERIAL #00209 Includes: - Red Scarlet-X with side SSD and PL Mount Camera (retail $11450) - AC Power adapter (DSMC) - RED 18-50mm f/2.8 CF PL Mount Zoom Lens (retail $6500) - RED TOUCH 5.0" LCD (retail $1600) - RED DSMC® Side Handle (retail $950) PACKAGE ASKING PRICE - $15900 (savings of $4600!) PACKAGE #3 Scarlet - X with PL mount and side SSD Barely Used Only 73.8 hours usage SERIAL #00240 Includes: - Red Scarlet-X with side SSD and PL Mount Camera (retail $11450) - AC Power adapter (DSMC) - RED 18-50mm f/2.8 CF PL Mount Zoom Lens (retail $6500) - RED TOUCH 5.0" LCD (retail $1600) - RED DSMC® Side Handle (retail $950) PACKAGE ASKING PRICE - $14900 (savings of $5600!) For more info on products: http://www.red.com/store Please email inquiries to my assistant Deb at bigdreamsdeb@gmail.com Thanks! Scott Snare -
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.
-
Digital cameras can do some amazing things nowadays considering where they were just even five years ago. One thing I sometimes struggle to understand is how these newer cameras with 13+ stops of dynamic range are actually quantizing that information in the camera body. One thing we know from linear A-to-D quantization is that your dynamic range is a function of the number of bits of the converter chip. A 14-bit ADC can store, at best (and ignoring noise for the moment), 14 stops of dynamic range. However, when we do introduce noise into the mix (sensor, transfer charge, ADC, etc.) and linearity errors, there really isn't 14 meaningful stops of dynamic range. I did a lot of research on pipeline ADCs (which I believe are the correct type used) and the best one I could find, as defined by the measured ENOB (effective number of bits), was the 16-bit ADS5560 ADC from Texas Instruments; it measured an impressive 13.5 bits. If most modern cameras, Alexa especially, are using 14-bit ADCs, how are they deriving 14 stops of dynamic range? I read that the Alexa has some dual gain architecture, but how do you simultaneously apply different gain settings to an incoming voltage without distorting the signal? A pretty good read through regarding this technology can be found at this Andor Technology Learning Academy article. Call me a little skeptical if you will. Not to pick on RED, but for the longest time, they advertised the Mysterium-X sensor as having 13.5 stops (by their own testing). Of course, many of the first sensors were used in RED One bodies, which only have 12-bit ADCs. Given that fact, how were they measuring 13.5 in the real world? Now, with respect to linear to log coding, some cameras are opting for this type of conversion before storing the data on memory cards; the Alexa and cameras that use Cineform RAW come to mind. If logarithmic coding is understood to mean that each stop gets an equal number of values, aren't the camera processors (FPGA/ASIC) merely interpolating data like crazy in the low end? Let's compare one 14-stop camera that stores data linearly and one that stores data logarithmically: In a 14-bit ADC camera, the brightest stop is represented by 8192 code values (16383-8192), the next brighest is represented by 4096 code values (8191-4096), and so on and so forth. The darkest stop (-13 below) is only represented by 2 values (1 or 0). That's not a lot of information to work with. Meanwhile, on our other camera, 14-stops would each get ~73 code values (2^10 = 1024 then divided equally by 14) if we assume there is a 14-bit to 10-bit linear-to-log transform. As you can see here, the brighter stops are more efficiently coded because we don't need ~8000 values to see a difference, but the low end gets an excess of code values when there weren't very many to begin with. So I guess my question is, is it better to do straight linear A-to-D coding off the sensor and do logarithmic operations at a later time or is it better to do logarithmic conversion in camera to save bandwidth when recording to memory cards? Panavision's solution, Panalog, can show the relationship between linear light values and logarithmic values after conversion in this graph: On a slightly related note, why do digital camera ADCs have a linear response in the first place? Why can't someone engineer one with a logarithmic response to light like film? The closest thing I've read about is the hybrid LINLOG Technology at Photon Focus which seems like a rather hackneyed approach. If any engineers want to hop in here, I'd be much obliged--or if your name is Alan Lasky, Phil Rhodes, or John Sprung; that is, anyone with a history of technical knowledge on display here. Thanks. -
Really want this. Someday. Anyone own this?
-
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 . -
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
-
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.
-
Hello, I'm shooting a short film next month that has a few bicycling sequences, involving two characters - an older man and a younger boy. I'm working on finding an affordable, safe method that will give good results. I am shooting RED EPIC with Zeiss UP. A few notes about the coverage the director hopes to achieve: - Wide Shots in front of characters (biking towards camera) - closer shots (shoulder up MCU) on faces - wide shots on characters back (following from behind) - Profile bicycles on sidewalks A few factors to consider: the characters are going to be biking pretty slowly / casually. We are shooting in a small southern town, and the locations are all pretty smooth and well paved. This is a college thesis film, we're students so think micro with the budget. We have access to friends pick up trucks (and other automobiles). So my current plan of attack is to shoot from the bed of a pick-up truck. I was thinking securing a high hat and stabilizing with sand bags and ratchet straps. Here are the questions that arise: Is this approach the best given the budget restraints? Has anyone used a different method they would like to share? Going with this approach, what is the best way to stabilze a RED EPIC to a truck bed that will minimilize bump and shake and still allow me to operate and follow the action taking place? Does anyone have any pictures of rigs like this? I would love to see a concrete example of what I'm trying to achieve. Any adive for shooting the shots from behind the bicyclists - the only thing I could think of would be to drive the truck in reverse... I apoligize if this topic has already been discussed. I searched through the forums but didn't come across any results. ALSO: Here's a video with great smooth shots, it's a skateboard but I imagine the bicycles will move at a similar speed. -- -- wonder how this was done? Thanks. Drew
-
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
-
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
-
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!
-
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, -
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.
-
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
-
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
-
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! -
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?
-
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
-
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.
-
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
