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  1. I've been researching the native ISO of RED cameras (primarily the Dragon and MX). What's been confusing isn't the notion of a native ISO, but rather that in the debate between 320 and 800, people are referring to shooting at ISO 800 as underexposing when compared to ISO 320. From one such individual: "At 320 (which may be closer to the sensors "native" sensitivity- or the point where the raw matches the redcolor as far as middle grey) you have much less range in the highlights. By rating 800, you are underexposing the sensor a bit and protecting the highlights." Bear with me as I'm more of a lighting guy, but my question is: how is it that by increasing ISO by 1â…“ stops are you underexposing the sensor? What am I missing? Thanks so much for your help!
  2. 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.
  3. all professional pro
  4. Hi everybody, sorry for the silly question but I'm way more familiar with ALEXAs than with the epic/dragon family. I was wondering if on the dragon there's a way to send different signals on different monitors, like in the Alexa. By that I mean the possibility of having the director seeing the LUT/REC 709 in the director's monitor and the DP the RAW in the EVF/on board monitor for example. I've been playing with the DONNA app but I cannot figure it out. Thanks so much in advance for the help, Davide Sorasio
  5. Hi you all! I just wanted to inform you that according to my tests the Double Data 's manual verification mode DOES NOT WORK AT ALL in the 1.2.1 (current version) of the software. I did not find this info easily from the web so I thought I should share it in case some users are not aware of this problem. This is just for the "Data Manage" ----> "Verify..." -function and does not affect normal transfers. It can cause you trouble however because the software does not read checksums correctly in this mode because of the bug and may show that the files are OK even if you alter them or remove all of them and just leave the first text file in place which contains the checksums from the original camera media. Because of the bug, the software actually copies checksum data from this file and adds a new text file containing these checksums which it is thinking is the checksum data of the verified files. So, if you look manually through the checksum text files they seem to be OK although they have nothing to do with the new verification round. So, it basically falsifies the checksum data in this manual verification mode and green lights all the files no matter if they are altered or not or even are in the same folder anymore. I contacted the manufacturer and they don't have any bug fix release yet but they are aware of the problem and are working on it, so it is best to not use the manual verification (Data Manage -->Verify... -function) at all with this software until they get a fixed version out. As I said, the bug does not affect any normal transfers from camera card to storage, and is only in the additional manual verification which can be used afterwards if needed. You can also trust the checksum files which the program creates during normal verified transfers.
  6. Hey guys i need to take a decision on this issue. I'll be renting it most of the time. I'm not sure which one is more demanded.
  7. Handbuilt and custom made, my brushless gimbal stabiliser has extended roll axis rods taking a payload of 15lbs making it extremely similar to the Movi M15. Selling due to lack of time to use it and feel it is time to go to a new home and help create some lovely shots! It's condition like new as it has never seen a shoot. £3000.00 GBP ONO located in London. 3 Axis Gimbal Stabiliser 15lbs Payload - Easily takes Red Dragon/Epic Extended Roll Axis Rods - Allowing for longer camera set ups Camera Plate w/ 15mm Rails 3 Control Modes - Thumb Stick Control/Follow Mode/2nd Operator Autotune Bluetooth Connection Tuning Stand Spetrum Wireless Controller Allowing a 2nd operator to control the pan/tilt/roll. 3x 4S 14.8v 2700 Batteries and Charger Canon 7D for reference, not included in sale.
  8. I am selling a brand new Allsteady-7 3 axis gimbal (from TurboAce). It was bought last year, has only been tested 2 times (works flawlessly). I am selling it because for the past year i have devoted my time to photography, thus no longer being in need of some tools that just lye around the house. for details on what it does exactly (it is basically a heavy duty gimbal): http://www.turboace.com/allsteady7.aspx it comes with 2 batteries, charger, monitor arm and balance stand. The item is located in Bucharest, Romania. So i would prefer to sell it in Europe (i guess it would be more convenient for the buyer too). price is 3600$ + transport fees (keep in mind it is new).
  9. Hello, I've recently shot a short film on a red epic in 5K raw. I've been told that .RED footage can be directly imported into adobe premiere, but that it would require a powerful system to edit. Is it necessary to have a good system to edit the footage ? And if that is, would I have to transcode the footage into a lower format (such as prores) to be able to edit ? Thank you for your time.
  10. Hello. I want to take this opportunity to introduce our services at www.seatoskycam.com We offer 1 axis cable cam systems for cinema or broadcast and can carry up to 200 pounds of camera gear. We have multiple systems from small RC cable cam drones to systems that can stretch 2500 feet long and use high speed winches that achieve 55m/hr uphill. We can set up these A to B rigs on any slope from horizontal to vertical. Our office is located in Vancouver B.C. but we are available for service worldwide. Thank you
  11. Is there anyone that have tested the Red Weapon 8K camera? What is the good and bad things about it? Henrik http://www.henrikameyer.com
  12. Hello, i sell my RED Scarlet (eligible for dragon update) : - RED Scarlet MX canon mount, ready to Dragon (430 hours) - RED Touch 5 pouces + Cable - RED Side SSD - RED Sidehandle - RED Sliding Top handle - RED Outrigger handle - REDmag 64go x 2 - RED station USB3/Firewire800 - Sound Adapter x A-Box - Top plate BERKEY SYSTEM - Bottom with 15mm rod adapter BERKEY SYSTEM - V-Lock plate adapter CINEMA OXYD - Bridge plate type TILTA - Dovetail type TILTA - Shoulder rig type TILTA - Adjustable handgrip type TILTA - Baseplate type TILTA with 19mm rod - Topplate type TILTA with 19mm - 4 x 19mm rod - 2 x 15mm rod - Flight case camera - Pelicase accessories Price : 9000 euros more informations and pictures : jchris@me.com
  13. Full set of Schneider Cine-Xenar III's. Canon Mount - AS NEW. Pristine. Not a scratch or smudge. Retail is close to 50k - First 35k takes them home. Free custom made case. These lenses are perfect. not one issue or scratch. I've had them a year and they have a 5 year US warranty through Schneider. feel free to find me at weshowell.com
  14. Hello everybody. It's my first post on lighting here on Cinematography.com I'm looking for a lighting kit to use with my Black magic Pocket Cam and 16mm lenses, that could be affordable, compact, and produce good results. Artificial Lighting is not my strong on Cinematography, I normally improvise with natural light, and have used an Arri Red kit before. Loved the results. I know there's a difference between fluorescent, incandescent and LED... though what would be a good choice in the case of using for small productions? When it comes to buy, its worth ask around for those who understand before go to BH Photo. Please let me know your suggestions. And thanks in advance. Thanks, Flavio
  15. Hi all, Hope you are all well. It would be great to get some feedback on my reel. Any comments are welcome. Cinematography Reel https://vimeo.com/115711277 Kind Regards,
  16. Hello! We just launched the second instalment of our Kin Fables trilogy titled Salvage. Shot on the west coast of Newfoundland on the Red Epic using Zeiss Super Speed lenses. I'd love to hear what this community has to say about the film, on all aspects. Thanks for taking the time to watch! https://vimeo.com/119777338
  17. I've noticed that adding contrast, and darkening warm hues tend to pull colors towards red. I love dark red hues, but I've been wonder what caused this. I had my doubts whether it was a visual illusion, so I put it to a test in Photoshop. Lo and behold. According to photoshop's color science, hues do pull towards a reddish hue when darkening. This test is by no means scientific. And image compression as well as web compression will certainly make the results even less scientific. But visually the results are pretty close. What are your theories? Limited color space with automatic gamut remapping?
  18. Put together this interview with Gone Girl DP Jeff Cronenweth for my blog. He breaks down his thinking behind a half-dozen shots from Gone Girl, talks about the Dragon compared to the Epic and reflects on spending time as a kid on the set of Butch Cassidy and the Sundance Kid. Here's the link if anyone's interested.
  19. Selling both a RED ONE (m) and a RED MX with operational accessories. RED ONE (m) with CF Module and PL Mount - $3200 RED MX with CF Module and PL Mount - $4200 Can sell as a Package with the following. RED Power Pack (2 RED Brick Batteries and Charger) Base Production Pack (Top Mounts, Rails, and Top Handle) RED 5" LCD with Cable and 9" Arm V-Lock Battery Mount ET Shockmount 320GB RED Raid Drive Pelican Case RED ONE (m) Package - $5000 RED MX as Package - $6000 Also for sale Libec RSP-850D(s) Pedestal system - $4000 I will send pics to those interested. Paypal or any authorizing payments accepted Buyer pays shipping. Email - empathi.RED@gmail.com Phone - 312-877-7362
  20. Hi! I am looking for a good 1st AC for a very small commercial shoot. Should be a short day. The 27th of Jan. Will be in the bay area. Really looking to meet a new great camera assistant for local ongoing gigs.. My regular contacts are all fleeing to LA! RED Dragon camera. Please have experience. Email me @ obertonejeremy@hotmail.com Let me know your preferred rate and experience. thank you!
  21. Updated reel, some new footage. Opinions, critiques welcomed. If I were to cut it in half what should I loose? TRT 2:09 http://vimeo.com/obertone/reel
  22. Epic-m Dragon for sale. Body only. 20 hours use. very good shape. New OLPF. Make me an offer.
  23. RED Pro Primes 5 Lens Set (25, 35, 50, 85, 100mm) Imperial.Excellent Condition. Kept in air-conditioned private home. Owned by Cinematographer and well taken care of. Footage shot with these lenses provided upon request. We love them but have to invest elsewhere. Great deal. Location: Los AngelesPrice for package $14,500 OBO Case included email: info@colinakoon.com
  24. Hey so I am DPing my second feature, and it's a road trip comedy- and we are considering shooting all the car interior shots on greenscreen as it would save the production money. How should I go about this? I don't have much experience with greenscreen and I would love all the tips and tricks I can get to pull this off so it's Believable. My thoughts My plan is to shoot the car against the green screen outside on a large greenscreen, I'm thinking 20'x40' backed off around 40 or so feet to minimize green spill. I'm planning on shooting east so the sun acts as more of a backlight, and at high noon, flipping around and shooting west to continue the back light I'm seeing if I can get some larger HMI units for add some light to the interior, because based off a pretest I did with a dslr, it's hard to get the car and screen exposed right without loosing one or the other, I'm thinking getting a 2500 or M40 unit, as that is what my budget would allow. What camera should we use? We have a red scarlet we can use for free- as well as red pro primes and zeiss cp2's I'm thinking of using the rpp's because they are sharper in this case. But I'm seeing if we can use the dragon because of More resolution and extended range. But budget wise it looks like I can get a better camera or better lenses(s4mini's, maybe ultra primes) - not both.Should I push for a better camera and use rpp's?, or better lenses and scarlet? Which is best for greenscreen ? Or should I just stick with what I have and save money for bigger lights/larger G&E package? The plan is to do all the greenscreen first, keeping notes on camera height and orientation, and focal length and stop- and replicating these when we get the plates I would love all thoughts and opinions as these are uncharted waters for me Thanks!
  25. Hi everyone! I have brand new EPIC DRAGON M, Canon mount and ssd side modul, redmini mag. 1. Red minimag 512 g + Redstation Mini-Mag ALMOST NEW* 2. 2x Redvolts + Charger 3. Redmote MINT* 4. DSMC Sidehandle NEW* 5. Module Adaptor MINT* 6. DSCM Fan 2.0 MINT* TOTAL PRICE: Euro 27,000 Thanks Bledi Please mail me in bledar_cili@yahoo.com or up-agency@mail.com PS. I PURCHASED THIS CAMERA JUST 3 MONTHS AGO https://www.flickr.com/photos/23280449@N06/15472457130/ https://www.flickr.com/photos/232804...n/photostream/ https://www.flickr.com/photos/232804...n/photostream/ https://www.flickr.com/photos/232804...n/photostream/ https://www.flickr.com/photos/232804...n/photostream/ https://www.flickr.com/photos/232804...n/photostream/ https://www.flickr.com/photos/232804...n/photostream/
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