» Posts Tagged ‘redepic’
With news of Blackmagic’s slight delays, it only makes sense to visit the other company that is notorious for being late to the party. RED unveiled their new DRAGON sensor “officially” back at NAB 2012, and while the sensor is “done,” we’ve only seen one sample showing the dynamic range, and another with a decidedly stiff “dragon.” We’ve got word from the higher-ups that the gears are in motion, and some high-profile individuals are shooting with the new sensor, which may even include a shoot with Lady Gaga. More »
Information about what’s happening with the new DRAGON sensor from RED has been scarce over the last few months, even as the company made a big splash at NAB 2013, upgrading camera sensors right on the show floor. We’ve heard a lot of impressive stats about the sensor, like a native 2000 ISO, 16 stops of dynamic range, and 6K resolution, but many will remain skeptical until we start seeing actual moving images from the camera (even as the still images have looked impressive). From a recent posting on REDUser, it looks like those will be coming sooner rather than later. More »
Everything in life has its purists. There are Mac purists and PC purists — vinyl purists and people who hate music (kidding.) In the filmmaking world, there are plenty of things to be a purist about, especially when it comes to cameras. (Canon and Nikon might as well be the Hatfields and McCoys.) But cameras, as well as almost every tool we use, have their advantages and disadvantages, and understanding which tools work best in certain situations is something that DP Timur Civan has learned to do. In a recent interview, Civan explains how making a decision on which camera to use depends less on prices or reviews, and more on the context of your material. More »
It’s been almost 3 months since RED’s showing at NAB — which included new products as well as camera sensor upgrades being performed right on the show floor — but where are the cameras with the new DRGAON sensors? Jarred mentioned in the forum that they’ve had to redesign an internal power supply, and this has affected their color science (which they are still working on). Either way, after months of promises, when might we see the fire-breathing beast — and will it be anytime in the near future? More »
It has been relatively quiet on the RED front regarding their fire-breathing beast known simply as DRAGON. We saw the first actual images from the camera back in February, and there was mention a few weeks ago that some internal power supplies needed to be redesigned as they were getting additional noise in the shadows. While development seems to be edging towards completion, Jarred has finally posted our first glimpse of the monster in the wild: More »
Great aerial footage seems simple enough to capture in theory, but there is often a team of people or years of experience backing up the terrific shots. In the post below, we have Andrew Wonder to take us through his process of capturing aerial footage of a female rugby team on the Sony F55.
This is a guest post by Director/Cinematographer Andrew Wonder.
If you were at NAB, then you already know that 2013 was the year of the drone. You could barely walk around the convention floor without the risk of getting a haircut by someone’s spin on the aerial rig. Though they look like toys, it’s easy to forget that operating a drone is an art that should be carried out by professionals. Like a Steadicam, you can’t just pick one up and expect cinematic results. Understanding how to balance and control these crafts is the difference between that perfect shot and ending up in the river. More »
We’ve mentioned the Aaton Penelope Delta a few times, not only because it is a seriously impressive piece of machinery, but also because it comes from a long line of well-designed cameras from the French-based company. While certain manufacturers are going small and/or modular, a few — namely Aaton and Arri — are still making cameras that are well-balanced and can be thrown on your shoulder right from the factory. Unfortunately, the company has faced a few setbacks with their still unreleased camera, and now it looks like those issues have put them in serious financial trouble. We’ve also got an update about the RED DRAGON sensors, and why we’ve yet to see any footage (even though the hardware is done). More »
Oblivion, the new film starring Tom Cruise and shot on the Sony F65 by Claudio Miranda (with some RED EPIC for one of their practical effects), has only just launched into theaters, but we’ve got a tremendous amount of behind the scenes material already available online. The director, Joseph Kosinski, who was also at the helm for Tron: Legacy, wanted to use as many practical effects as possible for the film, and it certainly shows in many of the clips and videos available online. Check out the extensive BTS as well as an in-depth look at the sound design for the film courtesy of Michael Coleman and SoundWorks Collection. More »
As we await the first footage from the DRAGON sensor (we’ve already been given some still images, but nothing was shown at NAB 2013), upgrades are already happening. Some of the first cameras to be upgraded, EPIC-Ms, were given the royal treatment right on the NAB floor where RED set up a clean room to give attendees a glimpse into the behind-the-scenes of what goes into camera upgrades. It was definitely one of the more spectacular displays of just how far the company has come since their first appearance at NAB 2006. We know RED is upgrading sensors for current EPIC and SCARLET owners, but what exactly will this cost, and might it actually be more cost-effective to sell your camera and buy DRAGON brand new? Click through for specs and a complete analysis on all prices. More »
RED is on a roll. With a stream of new products just announced, it seemed that they had done their damage for the day. However, now we’ve also got confirmation that not only is the Dragon finally ready, but that the Scarlet will be able to be outfitted with the new sensor. This is huge news for both EPIC and SCARLET owners alike. Read below for the scoop on the new update program. More »
A few days ago we pondered what the effect of mobile video sharing app Vine enabling website embedding may have on filmmakers, but with mobile app Echograph seeing itself recently acquired by the filmmakers’ video site of choice Vimeo, perhaps we should be looking at the cinemagraph landscape as one of the new creative arenas filmmakers will choose to explore. Ian and Cooper’s Back to Me music video for Joel Compass may well be the bellwether which kicks off that creative flood: More »
Seriously. It’s not often I’m brought to near-tears by any kind of aerial footage, 4K RED EPIC-shot or not (featuring striking landscapes of the San Francisco Bay area, or otherwise). I’m sure the swelling musical score didn’t help. We’ve featured a number of visually stimulating aerial footage videos before, some of urban areas fitfully asleep, others less ominous and more serene, and some for free from Neumann Films. Heck, one such clip followed battling ninjas. Each and every one is memorable in its own right. But thanks to Teton Gravity Research’s use of the GSS C520 5-axis gyroscopic stabilization system, Vimeo Staff pics is now featuring possibly the smoothest, most amazingly stable aerial footage you’ve ever seen — and perhaps even the most beautiful, too. Watch below. More »
The RED EPIC and SCARLET cameras are impressive feats of engineering when you consider what’s been squeezed into such a tiny package, but the downside to the small size is that internal heat can become an issue. When the camera is in danger of overheating, the fans ramp up to a much higher speed, which some have referred to as sounding like a “hair dryer” or “vacuum cleaner.” It doesn’t take an audio engineer to understand that this could be a problem on set, and it’s quite easy for a take to be ruined by the fans. Well, all of these issues are about to be history as it looks like RED has solved the problem. More »
Who wants to get their hands on the RED EPIC-X Pro Collection? Well, if you’re like me and your couch-change is a little shy of $48,260, then you may want to consider submitting your short films and/or stills to HDVideoPro’s 7th Annual Emerging Pro Still & Motion Competition. Presented by RED, Zeiss, and Adobe, HDVideoPro and Digital Photo Pro are teaming up this year to award the photographers and filmmakers who submit their best work. Here’s an example of what you can find in the competition’s motion gallery: More »
This is a guest post by Cinematographer Ryan E. Walters.
Welcome to Part 03 of Some Like It RAW, where I am comparing the Arri Alexa, Blackmagic Cinema Camera, and the RED EPIC. My goal for these tests is to explore how each of these cameras handle real world shooting environments. Part 01 explored how these cameras handle IR pollution. In Part 02, I tested underexposure. And here in Part 03, I’m exploring the world of overexposure and diffusion filtration. Continue on to watch the 10 minute video, read my summary, and get the downloadable RAW frames from each camera. More »
There are now more options than ever for good professionally built lenses, and many of them are exceptionally fast. None of them are perfect at their widest aperture (well, a few come as close as possible), but there are times when you just need that extra stop or two of light, even if you might normally be shooting more closed down. SALT, the Southland Alternative Lens Test, is conducted by a group of professionals who test a wide range of lenses against each other in difficult situations, trying to determine the strengths and weaknesses of each set of lenses. The most recent test, WFO, is specifically designed to push lenses like Master Primes, Zeiss Super Speeds, and Canon Cine lenses at their widest aperture to see how well they perform. Check out the test below. More »
Skateboard videos became more popular as digital cameras got smaller and cheaper, and it was practically free to go shoot your friends for a few hours or tape over anything you didn’t like. High-end skate videos are in their own world entirely, and you don’t have to be a fan of skateboarding to appreciate the beauty and talent exhibited by the skaters and the filmmakers. In Red Bull Perspective — A Skateboard Video, DP Marc Ritzema shows off some gorgeous anamorphic photography with the RED EPIC and time-stopping slow motion with the Phantom Flex, and Director Nicholas Schrunk crafts a story that takes you into the lives of some of today’s premiere skaters. Check out the film below. More »
This is a guest post by Cinematographer Ryan E. Walters.
Welcome to Part 02 of Some Like It RAW, where I am comparing the Arri Alexa, Blackmagic Cinema Camera, and the RED EPIC. My goal for these tests is to explore how each of these cameras handles real world shooting environments. Part 01 explored how these cameras handle IR pollution. In Part 02, I test the limits of low light levels, or underexposure. Continue on to watch the 11 minute video, read my summary, and get the downloadable RAW frames from each camera. More »
If you’ve been using a newer large sensor digital cinema camera, you may have noticed that your image takes on more reddish tones when using increased neutral density filtration. This is related to the way many of these ND filters block visible light, but let in more infrared light which can pollute the image. We’ve seen a few examples showing what IR pollution can do, and today, we have a video comparing RAW cameras, specifically the Blackmagic Cinema Camera, Arri Alexa, and RED EPIC, and how each of them handles black cloth when using IR cut filters of different strengths along with increased ND filtration.
I’m as captivated by striking portrayals of urban nightscapes as anyone, ranging back to the existing-light-only Nocturne, to the aerial ghost-eye-views of FIREFLY. There’s just something breathtaking about seeing the biggest centers of life and activity during the desolate, slumbering hours. Filmmaker Colby Moore has added another quieting noct-urban document to the list. City In The World lays some high dynamic range RED EPIC sights on the city that never quite gets to sleep. Check out some of New York City’s dark side below, plus some details from Colby about his non-HDRx workflow. More »