» Posts Tagged ‘redepic’

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Put Your Eyes to the Test 12 Camera ShootoutLet’s take a walk down memory lane. Remember two years ago, when Zacuto and Kessler put together what might be considered the most epic camera shootout ever conceived? I sure do, but not because of the results or any one camera being superior to the others, but because it drove home the point that we live in an era where any camera — from the iPhone 5 to the Sony F65 — can produce professional results as long as the person behind the lens knows what they’re doing. With that said, digital cinema technology has come a long way since the 2012 shootout. More »

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Sony a7S Slog2 409600We know the Sony a7S has quite a bit of dynamic range and terrific low-light performance, but how does it stack up against the Panasonic GH4, and a much more expensive camera, the RED EPIC? James Drake, with some help from Dave Dugdale, took the camera for a spin along with his personal EPIC and a GH4, to see just how far he could push all of them in a scene with minimal light. Though the MX sensor in the EPIC is around 5 years old, it’s interesting seeing how far the newest tech has come. More »

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Video thumbnail for vimeo video Out With the Old Sensor, In With the DRAGON: RED EPIC Exposure Comparison - No Film SchoolWith DRAGON now available for purchase or upgrade in RED‘s EPIC and SCARLET cameras, it’s about time to see how well the new sensor outperforms its predecessor, the Mysterium-X. Cinematographer Ryan Walters has recently done just that at Indie Cinema Academy. His battery of tests compare everything from overall latitude, highlight handling, recoverable underexposure, low light performance, IR pollution, and more between two EPICs — one old and one new. Needless to say, if you’re thinking of upgrading or simply wondering how all the DRAGON hype stacks up to reality, you definitely want to check out his results.
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CineVerse Camera Comparison ChartDiscerning cinematographers know that different jobs and projects often require different tools. With digital cinema technology proliferating at an incredible rate, cinematographers now have such a wide variety of camera systems to choose from that the process of deciding which one meets the technical and aesthetic needs of any given project can often be entirely overwhelming. If only all of the relevant technical information for each high-end digital cinema camera could be aggregated into one place, maybe into the form of a well-organized chart –Luckily for us, Tom Fletcher over at CineVerse, a nationwide rental house, put together just such a chart with all of the major digital cinema cameras on the market today (the high-end ones, at least), and it’s an insanely helpful graphic that puts our top-of-the-line digital cinema technology into perspective. More »

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Dale McCready Atlantis Season 2 Camera TestCamera technology has come a long way in the last 5 years. Dale McCready, the DP on the TV show Atlantis, normally shoots on 35mm for the show, but wanted to see how newer solutions stack up and could be intercut with the film material for Season 2. Since he already knows the ALEXA well, he took the 6K DRAGON from RED and his Canon 5D Mark III shooting Magic Lantern RAW and tested all sorts of different combinations of filters on the cameras. More »

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DamNation co-director Ben Knight avoids a surveillance helicopter while filming the demolition of Condit Dam on Washington's White Salmon River in a scene from DAMNATION Photo DamNation Collection

Being a director requires a certain persistent stubbornness to get a film made the way you want it. In the case of Ben Knight and Travis Rummel, this meant saving money for six years to buy the RED EPIC, having strict rules about shooting on tripods (even underwater), camouflaging oneself to film unnoticed at demolish sites, and editing every frame of the film in unadulterated 4K. The payoff? A breathtaking film that won the SXSW Audience Award and is opening on the big screen this weekend. In the No Film School interview below, find out how the filmmakers of DamNation made their cinematic doc, and where you can catch it in theaters. More »

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Under $2K Panasonic GH4 is Sharper Than Over $20K RED EPIC? - No Film SchoolThe Panasonic GH4 is barely on the market yet, and while we’ve seen some comparisons, some have been with cameras that aren’t shooting 4K. But what about comparing the $1,700 4K GH4 to the 5K RED EPIC MX (non-DRAGON), which runs well over $20K for a working body? That’s what Luke Neumann did, and he threw in the Canon 5D Mark III shooting Magic Lantern RAW for good measure, upscaled to 4K to keep everything consistent. Can a cheap camera really look sharper than a pro cine camera? More »

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Aerial LEDAerial drones are quickly rising in popularity in the world of video production. Glorious aerial shots that would have once required an expensive helicopter rental are now possible with equipment that is relatively affordable for the masses. However, is it possible that these devices have untapped video-production potential outside of simply capturing footage, perhaps in the arena of aerial lighting? Swedish DP Simon Sjörén recently put this theory to the test by mounting high-powered LED’s to a drone, while using another drone to capture the footage. Check out the process below! More »

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Video thumbnail for vimeo video This Is How You 6K (or Even 8K): Light Iron's Future-Proof Digital Intermediate Mainframe - No Film SchoolMichael Cioni, CEO of post firm Light Iron, has been quite proactive in sharing the ins and outs of his company’s workflows, techniques, and philosophies. Previously, Cioni has highlighted the hurdles of The Girl with the Dragon Tattoo‘s 4K post production process, and gone in-depth about maintaining the color pipeline of Ender’s Game amidst extensive visual effects work. Now, in a video journal released in time for NAB 2014, Cioni breaks down Light Iron’s upgraded 4K, 6K and even 8K-ready post infrastructure — while also explaining the importance of choosing tools today that will serve the future’s needs. More »

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Photos Printed from 6K RED DRAGON FootageSince RED is still trying to deliver a few of the products they’ve had in development for some time — including the new 6K RED DRAGON sensor upgrades — there weren’t any earth-shattering announcements at NAB 2014. The newest products are about adding functionality to the cameras as they exist today, including the new Switchblade-M side panel and the 4K broadcast module which sends out an uncompressed 4K signal over four 3G-SDI outputs. They did however, have some interesting news for those looking at getting a SCARLET DRAGON, and for those who like to shoot native black and white. Check out our video below with RED for more. More »

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Wild Combination - Dreamin' - MoVI RED EPIC 2Shooting in the freezing cold is never an easy task, especially when your gear wants to stop working at all the wrong moments. The team over at Wild Combination braved the elements — including New York City streets — armed with a MōVI and RED EPIC, to shoot the new music video for the Pillar Points song “Dreamin’.” Check out the video below, and read about their experience making the project. More »

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davinci-resolveRED has held back for quite some time letting other manufacturers use 3rd-party hardware acceleration in their software with RED’s proprietary .R3D codec, but that time has now passed. In the new 10.1.3 update for Blackmagic’s DaVinci Resolve, GPU acceleration is now supported with RED files, which will mean faster workflows for anyone not already using a ROCKET or ROCKET-X card from RED. More »

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RED DRAGON Hero ImageDxOMark, a “comprehensive RAW-based image quality measurement database and a set of scores to evaluate and compare digital cameras and lenses,” recently evaluated RED’s new 6K DRAGON sensor since it has the ability to pull extremely high-quality still images from video. The result, which probably comes as no surprise to RED themselves, measured the DRAGON as the best overall sensor they’ve ever tested, breaking 100 points on their scale. Considering that DxOMark has tested all sorts of cameras (some even more expensive than DRAGON like the medium format Phase One IQ180), the results are indeed impressive. More »

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Igor MartinovicTelevision cinematography has come quite a ways in the past 10 years. In the arena of episodic television, where multi-camera shoots with high-key lighting were once the norm, incredibly cinematic single-camera cinematography has now taken hold. Although many of HBO’s and AMC’s offerings started the ball rolling with this delightful trend, the Netflix original drama House of Cards is the absolute epitome of dramatic cinematography in an episodic show. Igor Martinovic, the cinematographer from the second season of House of Cards, recently sat down with our friends at the GoCreative Podcast and he shared quite a bit about the cinematography of this world-class show. More »

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Godfrey Reggio VisitorsGodfrey Reggio, who created the Qatsi Trilogy, is back again with another hypnotic film called Visitors. The film, which is composed of just 74 total shots (but is 87 minutes long) and showed at the Toronto International Film Festival, is currently screening around the country. The Creators Project recently went in-depth with Reggio and others involved in the project, and put together a fantastic BTS video. We’ve also got another great video that takes you behind the scenes of the film, which is presented by Steven Soderbergh. More »

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RED Dragon with New Top PlateNo, it’s not the A.D.D. you’re thinking of. RED has developed something new for RED CINE-X called Advanced DRAGON Debayer to squeeze even more quality out of the image in post, which is in addition to the new Optical Low Pass Filter on the DRAGON that gets rid of an ugly flare and in the process helps increase dynamic range. There is word more improvements are coming, but if you’re wondering about actual cameras, the general upgrades for all EPIC users is almost here, which will mean DRAGONs for every EPIC owner that wants them. More »

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Screen Shot 2014-02-18 at 3.21.50 PMLast week, Blackmagic Design once again shook up the cinema camera market with their announcement that the BMPC 4K would begin shipping immediately at $1000 cheaper than expected. Cut to one week later, and the first of many forthcoming camera comparison videos have hit the web. If you’re wondering how the BMPC 4K stacks up against the Canon 1D-C and the RED EPIC, cameras which are significantly more expensive than Blackmagic’s offering, here are a few videos that should clarify things. More »

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U2 Invisible - Shot on RED EPIC MonochromeBesides the wonderfully confusing fact that this is a U2 video shot on RED EPIC Monochrome for the unrelated (RED) foundation (which is raising money for the fight against HIV/AIDS), it’s pretty fantastic to look at. I will admit to being a digital black and white junky at this point, but there is a pureness to the image that color can’t quite replicate yet,mostly due to the fact that light has to go through an additional layer. So if you’re not with me on the black and white bandwagon, it’s also a worthy test of YouTube’s compression. More »

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Freefly CineStar 6K RED EPIC DRAGON AerialFreefly, who makes all sorts of stabilized aerial copters for cameras (and who is now better known as the creator of the MōVI), just got their hands on a 6K RED EPIC DRAGON, and the first thing they did was take the little guy into the sky. The team put the camera on one of their 8 rotor CineStar copters, and the resulting footage is about the smoothest you’re going to see with an unmanned vehicle. Check out the gorgeous video below, which was filmed with the Tokina 11-16mm lens: More »

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Old Super8 cam

When many of us first picked up a camera, it was whatever we had lying around. Maybe it was dad’s old Super 8 at home or the Handycam in your high school yearbook class. It was available, affordable, and convenient, so the choice was already made whether you knew it or not. Today, however, there are a lot of cameras out there so naturally beginning filmmakers will ask themselves, “How do I choose a camera?”

This is a guest post by Joyce Tsang of Stillmotion. More »