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Found 7 results

  1. Anybody here tried and/or played with the Mole Richardson Bi-color led fresnels? Especially the big ones like the 5k or 10k equivalent. Or even these same lights in single color... Any thoughts, pros, cons, everything you have would be greatly appreciated!
  2. RED DIGITAL CINEMA® introduced today the new GEMINI™ 5K S35 sensor for its RED EPIC-W® camera. The GEMINI 5K S35 sensor leverages dual sensitivity modes to provide greater flexibility for a variety of shooting environments. Whether creators choose to shoot in standard mode for well-lit conditions or low light mode for darker environments, the RED EPIC-W with GEMINI 5K S35 sensor delivers incredible dynamic range and produces cinematic quality images. The GEMINI 5K S35 sensor delivers exceptional low-light performance allowing for cleaner imagery with less noise and better shadow detail. Operators can easily switch between modes through the camera’s on-screen menu with no down time. The GEMINI 5K S35 sensor offers an increased field of view at 2K and 4K resolutions compared to the higher resolution HELIUM® sensor. In addition, the sensor’s 30.72 mm x 18 mm dimensions allow for greater anamorphic lens coverage than with HELIUM or RED DRAGON® sensors. “While the GEMINI sensor was developed for low-light conditions in outer space, we quickly saw there was so much more to this sensor,” said Jarred Land, President of RED Digital Cinema. “In fact, we loved the potential of this sensor so much, we wanted to evolve it to make it have a broader appeal. As a result, the EPIC-W GEMINI now sports dual-sensitivity modes. It still has the low-light performance mode, but also has a default, standard mode that allows you to shoot in brighter conditions.” Built on the compact DSMC2® form factor, this new camera and sensor combination captures 5K full format motion at up to 96 fps along with incredibly fast data speeds of up to 275 MB/s. Additionally, it supports RED’s IPP2 enhanced image processing pipeline in camera. Like all of RED’s DSMC2 cameras, EPIC-W is able to shoot simultaneous REDCODE® RAW and Apple ProRes or Avid DNxHD/HR recording and adheres to RED’s dedication to OBSOLESCENCE OBSOLETE®— a core operating principle that allows current RED owners to upgrade their technology as innovations are unveiled, as well as move between camera systems without having to purchase all new gear. Beginning at $24,500, the new RED EPIC-W with GEMINI 5K S35 sensor is available for purchase at select RED Authorized Dealers globally and on RED.com. Alternatively, WEAPON Carbon Fiber and RED EPIC-W 8K customers will have the option to upgrade to the GEMINI sensor at a later date. To learn more, visit www.red.com/products/epic-w.
  3. Irvine, CA - September 7, 2016. RED Digital Cinema is heading to IBC (booth #12.C71) in Amsterdam from September 9-13. Those visiting RED's booth can interact with RED's entire line of DSMC2TM cameras - RED RAVEN™ 4.5K, SCARLET-W 5K, WEAPON® 6K and WEAPON 8K VV, as well as the limited edition white WEAPON 8K S35 featuring RED's newest sensor, HELIUM™. This creates a unique opportunity for visitors to experience two industry-leading 8K sensors, RED DRAGON® VV and HELIUM S35, side-by-side. All of RED's DSMC2 cameras offer superior image quality, incredible dynamic range, and are capable of shooting simultaneously in REDCODE® RAW and Apple ProRes or Avid DNxHD/HR. WEAPON cameras upgraded to a RED DRAGON 8K VV sensor boast up to 75 fps at 8K resolution, 35 megapixel stills from motion, 300 fps at 2K resolution, and incredibly fast data speeds (up to 300 MB/s). RED will also highlight the flexibility of its cameras' modular design by showcasing a variety of third party accessories and peripherals designed specifically for RED cameras. Companies represented in RED's booth will include: * FOOLCOLOR * OFFHOLLYWOOD * RT Motion * Bright Tangerine * Gates Underwater
  4. 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.
  5. Hey everybody, My name is Mike, I am an Electric and I will be gaffing for a short film. I have to recreate late afternoon light to shine through a window. My question is do I have a strong enough light source? My main light source is an Arri Tungsten 5k. The DP wants it about 20 or so feet away from the window. We are on the second story so the light will be on a stand about 16 feet high. The DP wants afternoon light (4300k) to shine through the bathroom window. So I will gel the 5k on a 4x4 frame with 1/2 CTB (4600K). He also wants some New Hampshire Frost on it. Using Arris Photometric Calculator I calculated the Arri T5 5k light source at: 21ft. Middle flood to give me a 3914 Lux. Aperture at F13.8 ASA 800 30fps Wikepedia says Lux for a sunset/sunrise to be 400,1000 for an over cast day, 10 000 for full daylight. My 3914 Lux does not take into account my 1/2 CTB gel and Hamphire Frost. So ultimately I am asking where my light is placed right now 20ft away though 1/2CTB and Hampshire Frost, do I have enough light or Lux to recreate late afternoon sun? Yes I can lower the aperture on the camera from the 13.8. Or should I rent a 10k. Keep in mind I only have one Grip to help me. Thanks a lot for any help in advance, it is much appreciated. Cheers, Mike
  6. Looking to buy RED Scarlet-X (in new or pristine condition) would prefer package deals but also will accept just brain as well.
  7. I have developed a new HD Plug-n-Play Pkg. that enables the paralleling of two Honda EU6500 inverter generators to generate 100 Amps of power. A complete system consists of two modified Honda EU6500s, a Paralleling Control Box, and one of our Transformer/Distros (either 60- or 84- Amp.) Parallel operation of two Honda EU6500 generators made possible by our new Paralleling Control Box) The generators require modification to interface with our standard Paralleling Control Box, which syncs the frequency and equalizes the load between the generators. Our proprietary paralleling control circuitry uses the Pulse Width Modulation (PWM) of the generator's inverters to control the load sharing. The phase angles of the two generators are synchronized using open loop architecture. The final function of our control box is to switch the outputs of the inverters to a common bus after their frequencies are locked in step (same phase angle and time base.) 
(As demonstrated here, our new HD Plug-n-Play Paralleling System can power a 6K HMI as well as 2-2k and 2-1k Fresnels) To provide power that is readily accessible in industry standard outlets, our Paralleling Control Box is outfitted with both a 240V Bates receptacle, as well as a "Hollywood Style" 240V Twist-lock receptacle. The 240V Bates pocket is there to power larger HMIs than has ever been possible before on Hondas (4k - 9k ARRIMAXs.) The "Hollywood Style" 240V Twist-lock receptacle is there to supply power to either our 60- or 84- Amp Transformer/Distro. The Transformer/Distro serves several important functions in this system that enables two EU6500s to be paralleled (use this link for details), but its' primary function is to step-down the combined 240V output of the two generators into a single large 120V circuit (either 60- or 84- Amps) that is capable of powering more small lights, larger 120V lights (5-10k Quartz) than has ever been possible before on portable Hondas. Each of our Transformer/Distros is likewise outfitted with an industry standard 120V Bates receptacle so that you can use standard distro equipment, like Bates Siameses, Extensions, and Break-Out boxes to distribute power around your set, breaking out to U-Ground Edison Outlets where ever needed. Our 60A Transformer/Distro provides 120V power to smaller lights while a 6K HMI operates at 240V) 
 An added benefit to using a Transformer/Distro to distribute the combined power of the two generators is that, no matter where you plug into the Transformer/Distro on its' secondary side, it automatically balances the load on the generator's two legs (which is critical for successful paralleling of two machines – use this link for details.) This feature also makes electrical distribution on set incredibly simple: you just plug in lights until one of the generator's load indicators reads 6000 Watts and the Transformer/Distro does the rest. But, the most important benefit to be gained by using a Transformer/Distro, the one that makes it possible to parallel two EU6500s in the first place, is that it isolates the generators from high neutral return currents that can lead to dangerous neutral “cross-current” between the two generators that can overheat their inverters (use this link for more details.) By reducing the dangerous neutral “cross-current” created by two generators operating in parallel, our Transformer/Distros make it possible to operate more lights, or larger lights, on portable Hondas than has ever been possible before. Given the high sensitivity of HD camera systems these days, just about all the light you will need to obtain good production values can now be operated on our new HD Plug-n-Play Pkg. (use this link for more details.) Contact me if you want to retro-fit your Honda EU6500 for parallel operation without modification. Guy Holt, Gaffer, ScreenLight & Grip, Lighting Rental & Sales in Boston
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