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Found 21 results

  1. Please email sales@broadcastsolutions.com with pricing and details. W.T.B. Red Scarlet & Red Raven Packages
  2. Selling a RED SCARLET MX Package. This kit includes everything you would need to get shooting with the RED! Serious Inquiries only Asking 9,500 USD! email me at jeanlucoicle@gmail.com Kit includes: RED SCARLET MX Brain (EF Mount) DSMC RED Touch 5" LCD 4 x Redvolt battery 2 x Redvolt charger 2 x 64gb Redmag DSMC Side Handle RED DSMC Bolt Kit Smallrig Top Plate Smallrig Cheeseplate Wooden Camera Riser Smallrig 15mm Rod Adapter 2 x Smallrig Carbon Fiber 15mm rods Smallrig Top Handle (rubber grip) Olympus Stereo Mic Anton Bauer Gold Mount Battery Plate RED LCD/EVF CABLE (RIGHT-TO-RIGHT) 12inch RED LCD/EVF CABLE (RIGHT-TO-RIGHT) 18inch Wooden Camera A-Box AC Adapter Pelican Case Located in Montreal. Would ship to US and Canada.
  3. Thanks in advance for sharing your experience with me. I'm going to be DP on a friend's shortfilm and they want to use the Red Scarlet W with a Dragon sensor. I'm excited about that because I have never used a RED camera, but I have some questions, specially since I won't have acces to the camera pretty much till the shooting day. How do you expose for this camera? I know it sounds like a dumb question but I'm really asking, where do you put your 18% gray? and how's your experience with your technique? I like using my light meter to set exposure, but now with a variety of cameras available and manufacturers putting 18% gray wherever they want it's complicated. Here is my point: I have an Ursa Mini 4.6k and it's a great camera. I tested the camera using an 18% gray card and some other tests and I determined that in order to get proper exposure without correcting in post I have to overexpose the camera by almost two stops. I set ISO 800 on the camera and ISO 250 on my light meter, and I get what I consider proper exposure. There is a video where Shane Hurbult tests the camera and he gets pretty much the same results. I guess it was sort of embarrasing for Blackmagic to say their camera is rated at ISO 250 so they said it's a ISO 800 camera like REd and Alexas, but by doing that they are forcing people to under expose a camera that doesn't have tolerance to underexposure. It's a great camera, if you expose it properly and that is not at ISO 800. I know they are trying to protect the highlights, so their camera looks good, but I know how to take care of my dynamic range and I rather take it to the limits taking my own decisions. Is there something similar with RED cameras? How do you expose for RED specially with a light meter? Do you over expose or underexpose for some reason? Do you get more noise if you underexpose it? How far would you take ISO and still get a decent image? I'm not lazy, I did read the manual, but knowing that manufacturers play games with specs I rather have some info from people who have experience using the camera or I may say the sensor. Thanks in advance for your help.
  4. 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
  5. Hi everyone! I am selling a fully ready kit for shooting. Red Scarlet Mx camera on Canon mount. Registered on me/ 2 200 hours of shoot/ regularly Red serves. Kit contains Camera+Red monitor+batteries+mount+followfocus Tilta+4 64 Gb cards+card reader+handheld (kit jn photo it’s presented not fully) Copmpact Prime Cp 2 lenses (15mm(T2.8),21mm(T2,8),35mm(2,1),50mm(T2,1),85mm(T2,1),100mm(T2,1),) Pl mount +case Sachtler 25 Plus (Horizont Plus) 150 mm tripod + cine 2000 tripod + hard case. Director’s monitor Panasonic 17. Everything is in good condition and is located in Moscow Russia. 31000 $ USD (or best offers). Call, +7 916 815 O5 96 or houdh235@rambler.ru. Separate sale is also possible.
  6. Hi, my friend is selling his Scarlet kit, in mint condition, low hours, never rented. Located in Slovakia, Central Europe. https://www.kitmondo.com/used-red-scarlet-x-for-sale/ref638020
  7. 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
  8. Hey there, I'm wondering if anyone on here knows where to find a infrared modified red epic. I have a video idea I'd like to try that would require infrared photography, but I can't find a rental house that has this camera. I've seen a few videos online that where shot with a modified red epic, but they are seemingly all personally owned cameras. Here are some examples of the effect: Hopefully someone on here "knows a guy". Thanks, Alan Gwiz
  9. For sale, Movi M10 bought in February 2014 (I'm going for a heavier setup so I will need the M15). First-hand. I am the only one to use it on my own projects. Very well maintained. Perfect working conditions. Presents a few surface scratches. VERY IMPORTANT: I offer a day of training to the new owner. I will give him all the advices he need to choose the right accessories for his Movi. I will be available in New York starting from 10th of January 2015. I can also make a delivery in Paris at no additional cost. Comes with: -01 x transport case Pelican/Storm Case 'Cinema Oxide' 700usd New. Waterproof and shockproof. Ideal for the transport and the protection of the Movi. Minor Surface scratches on the outside and some small pieces of missing foam in the inside. -01 xMovi MR Kit. New, never used, transforms the M10 for drone use. 300 Usd -01 x Remote control Spectrum DX8 for dual operator use with it's charger. -02 x Batteries and a charger. Enough to take more than one day of shooting. -02 x Screwdrivers. -01 x Support. -Manual. Supports cameras up to 6 kg: BlackMagic, Red Epic, Scarlet, C100, C300, C500, Sony fs7, some reflex etc. Used 90% on a Canon 5 d MKIII. Price : 6400 USD or 5400 euros Negotiable.
  10. Redmote for Red Epic/Scarlet like new condition, only used a handful of times. No scratches or signs of wear $380
  11. Looking to buy RED Scarlet-X (in new or pristine condition) would prefer package deals but also will accept just brain as well.
  12. 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 :)
  13. 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.
  14. Hey friends, I have been working on this film for the last year, shooting all in 4K (Via Red Epic or time lapses from a Canon MKIII processed into 4k standard 3840x2160) Please take a look and let me know what you think: Watch in 4K Would love to hear your feedback. If you dig this project help us finish it by sharing this link: https://www.kickstarter.com/projects/1503578410/secrets-of-the-west-a-4k-adventure Thanks all!! -James
  15. i want to sell my red scarlet-x camera kit with all its essential accessories. i have bought some stuff from red.com & some accessories from woodencamera.com list: i'll attach photos in a couple of days (if needed) from RED: - scarlet camera brain - DSMC side handle - DSMC travel charger - side SSD slot - canon EF mount - PL mount - 6x redvolt - 5x red mag 1.8" SSD 64GB from wooden camera: - bridgeplate 19mm - easyriser - top handle (cheese) - side handle (rubber) - switronix V-mount - quickback V2 - ultimate top mount - ultimate top mount cheese plate all amounting to $21,760 by current reduced prices. i'm willing to sell for $21,000. that is $760 cheaper & faster delivery too ;)
  16. 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
  17. 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.
  18. RED SCARLET-X FOR SALE AT $15,500. CLOSE TO NEW CONDITION! UNDER 50 HOURS OF SHOT FOOTAGE. We are an LA based post-production house that occasionally shoots ourselves, but have barely used the camera in the past year so would like to put the money into new post-production equipment. Willing to cover US based shipping costs. NO OFFERS FOR INDIVIDUAL PARTS. PM OR EMAIL sam@evofilmsusa.com Camera: x1 - Scarlet-X w/side SSD (less than 50 Hours on it) Mount: x1 - RED Scarlet CANON AL Mount Media: 1x RED Station 1.8" W/Firewire Cable + ESATA 1x REDMAG 1/8 SSD 128GB 1x REDMAG 1/8 SSD 64GB Monitor: x1 - RED Touch 5.0" LCD w/Cable Power: x1 - RED Scarlet DC Power Cable x1 - Anton Bauer T2 Charger x2 - Anton Bauer Dionic-HC Batteries x1 - Quick Back plate for Scarlet x1 - Battery Back plate for Anton Bauer Accessories: x1 - DSMC Base Production Pack Rig Storage: x1 - Scarlet X Case
  19. 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!
  20. Hi, I am about to shoot a short movie with the Red Scarlet. Prior to that, we will shoot some 8mm footage. During one scene, a character is going to start a super 8mm projector and then go in front of it (in the projected image) and interact with the character from the super 8mm footage. I am aware of the "scanning line" problem due to the rolling shutter of the Scarlet. My solution was to film the super 8mm footage with a non-rolling shutter camera. (I believe it is the cheap alternative to a scan) And then cheat the projection with a digital projector, pretending it comes from the super 8mm projector. Do you think it would work? Would it look fake? My main goal though would be to be able to see the super 8mm projector rolling and its image in the same shot. I was wondering what would be my other options? Thanks for your advices, Marie
  21. 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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