September 15, 2013

RED Goes Global Shutter with New Motion Mount for EPIC/SCARLET (Plus New DRAGON Footage)

MotionMountPLFacingWhen motion cameras moved from CCD to CMOS sensor technology, we got much better low-light performance, but gained an unfortunate side effect we affectionately refer to as jello, also called image skew. While CCDs are normally global shutters, CMOS technology can run in either rolling or global shutter. Unfortunately up until recently, running a CMOS sensor in global shutter mode meant lower performance, including less dynamic range. This means we've been stuck with rolling shutters and the jello effect, and high end cameras have only gotten rid of the effect by putting actual spinning mirrors in front of the sensor. Now RED has introduced a brand new mount called the Motion Mount, which turns their CMOS MX or DRAGON sensors into global shutters, without any dynamic range or noise penalties. We also have new DRAGON footage -- check it out below.

As a quick demonstration if you don't already know, here is Global Shutter vs. Rolling Shutter:

Originally unveiled at NAB, these Motion Mounts are now officially on sale. Here is Ted from RED showing off the mount:

Another look at the effect:

The Motion Mount is really an all-in-one solution, acting as both a global shutter and an ND filter (and it also gets rid of IR pollution). The best part about this solution is that it's going to work with both EPIC and SCARLET, MX and DRAGON -- it won't matter which camera or sensor you have. Even though the DRAGON sensor readout is about twice as fast as MX (which doesn't suffer from jello that much anyway), this new Motion Mount solves global shutter however you want it to. The mount can be ND only or ND and global shutter, and can do 8 stops of ND in the first mode but only 4 stops in global shutter mode.

The most interesting aspect of the new mount is the Soft Shutter mode, but here is an explanation of everything this mount does:

Check out the Global vs. Rolling Shutter post here, and the Temporal Aliasing post here.

The mount does take away about 1.5 stops of light even when you're not using it, so it may be something you take off the camera when you're indoors. While the mount can run in either ND Only or ND + Global Shutter mode, there is a catch about shooting wide open when you're in ND only mode:

Other than that bit, this mount is extremely exciting. You can read more about the motion mount in the official guide here. The mount comes in both Canon EF and PL, titanium only. Originally going to retail for over $4,000, RED is releasing the new mount at just $3,900. While that might be a lot, it's important to consider everything this mount does, and when it's paired with DRAGON, it has all of the benefits of a rolling shutter (better noise performance and dynamic range), plus the everything that's great about global shutters.

Blackmagic's new 4K camera has a global shutter, but it will have lower performance as far as dynamic range and ISO range are concerned. While having a global shutter can be nice, it's good that companies like Blackmagic and RED are now giving options to get rid of that miserable jello effect.

We've also got some brand new DRAGON footage from Gunleik Groven. Check it out here, but head on over to Vimeo if you want the best quality (NSFW):

What do you think about the Motion Mount?

Links:

Your Comment

55 Comments

no reason to buy into a camera system...every job has different requirements..camera needs..(digital or film) lighting...etc.....and every day there seems to be a new digital camera being released or a new update.. too much time wasted on keeping up instead of working on your craft...film solves what seems to be what all these updates are about..and it's cheaper I find because you don't have to deal with the post

September 15, 2013 at 7:47AM, Edited September 4, 11:21AM

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DIO

>film solves what seems to be what all these updates are about..and it’s cheaper I find because you don’t have to deal with the post

Film is cheaper? You don't have to deal with post? Hahahah, what a load of nonsense.
If you're too poor to own, just rent for the job for christ sake.

September 15, 2013 at 9:49AM, Edited September 4, 11:21AM

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Natt

Natt...
I own an arri alexa, arri lt and red epic...but I have the workflow to support owning these cameras...I'm commenting for people who don't have the $$$ and are trying to improve their reel (again there is no need to buy into a camera system because most people starting out or are in school do not have the workflow)

September 15, 2013 at 12:02PM, Edited September 4, 11:21AM

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DIO

Where on earth are you getting film cheap enough to shoot a movie that it's cheaper than a digital option?

September 15, 2013 at 12:51PM, Edited September 4, 11:21AM

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Jake

if you know what you want and how to set up....film will save you a lot of money in post...(you can find great deals on 35mm 16mm cameras and film)
it gets you where you want to go creatively and work wise faster...talk to you an editor at a busy post production house..they have seen and heard everything...and they know

September 15, 2013 at 12:51PM, Edited September 4, 11:21AM

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DIO

I agree on this. It's actually often cheaper in the end or cost the same. Sounds weird? Yep, it does. But think of all the extra takes you have to sort out when you shoot digital and all the extra work that goes into digital when you have more to edit. It cost money becasue the editing process becomes longer. There's a discipline to film that can save you money in the end. Now if people could have the same discipline shooting digital it could be a much cheaper process. It's the post production that costs money. And let's not talk about 4K and storage... Every step in the process cost money.

September 15, 2013 at 1:11PM, Edited September 4, 11:21AM

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Martin

But it's not cheaper when you already own a camera.

September 15, 2013 at 4:24PM, Edited September 4, 11:21AM

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Tyler

So shoot fewer takes. And never playback a shot. The extra footage is a good thing.

September 16, 2013 at 11:54AM, Edited September 4, 11:21AM

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Brandon

Nice to see someone who knows what their talking about on here.
Film (especially S16) would be far cheaper for most drama projects.

September 15, 2013 at 1:26PM, Edited September 4, 11:21AM

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marklondon

When I worked for Universal Television in the 70s/80s they had a three take rule. The actor had three takes to get it right. The better actors could nail-it in one or two takes, allowing the lesser actors four takes.

I have done some low budgets and Movies of the Weeks (MOW) and we had good enough actors so that we could get everything in two or three takes. This does require key people who know their jobs. First assistants who can pull focus on a moving actor, dolly grips who can hit their marks on complicated dolly moves, etc.

If I were to do a feature today I'd choose S16 on a CineAlta F23. For commercials for the web or local cable, any video camera would work.

September 16, 2013 at 2:29AM, Edited September 4, 11:21AM

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c.d.embrey

Good points DIO, I'd been re-debating the film vs digital argument to myself recently w/ similar thoughts. 35mm processing and 4K scanning do start adding up fast though;while 16mm on the other hand, may be a good option for some projects. Many 16mm projects imo look bad due to dirty lenses and lack of pin registration on consumer film cameras, regardless of lighting/set design/mise en scene. I suspect that because of this, many discredit the idea of using 16mm altogether when they first start out. I did a few tests recently w/ an old Bolex Reflex 16mm camera and a Cmount-2-EOS adapter w/ some good Zeiss glass. The difference was remarkable, the footage using old Cmount primes looked like garbage from an entirely different camera; whereas the footage using Zeiss glass was brighter w/ more contrast, color and had a much cleaner image in general. unfortunately, w/out pin registration (the Bolex was a consumer camera after all), everything needed to be stabilized in post for a rock solid image. In the end, I decided to upgrade to Dragon. I'm already in the RED eco-sphere, but if I was to start all over, I do think shooting film and renting grip/lighting gear is cheaper and will lend itself better to learning and improving skills of the craft then playing around w/ all these digital jello-cam consumer toys... especially when considering how much effort is required in post to make the footage worth using in the first place. Thank You

September 20, 2013 at 10:16PM, Edited September 4, 11:21AM

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film is cheaper and more efficient if you avoid the DI process as a good colorist/lab technician can color a film in 3 passes.

September 15, 2013 at 1:07PM, Edited September 4, 11:21AM

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jonathan

This is good to hear. So badly want to use film for my projects over digi. Unfortunately it seems like most people I collaborate with acquiesce to digital because of it's ease and familiarity.

September 15, 2013 at 3:03PM, Edited September 4, 11:21AM

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VinceGortho

You don't have to rely on as many others with digital. I own the Blackmagic 2.5k right now... And I can directed, DP, edit, and color grade myself. Save a ton of time an money. You need to know all the jobs though. I hate splitting up the jobs when I can avoid it. It also doesn't feel like "my film" anymore with that many people working on it. Too much of the "vision" gets lost in translation. Film is probably cheaper for directors that have no idea what they're doing though... as their lack of ability get's masked by others doing their jobs for them. But for the next gen of filmmakers who do multiple jobs... there's no creative equal to digital.

September 15, 2013 at 3:05PM, Edited September 4, 11:21AM

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bwhitz

"Film is probably cheaper for directors that have no idea what they’re doing though… as their lack of ability get’s masked by others doing their jobs for them."
Wow that's a interesting perspective I haven't heard before. Do you think Chris Nolan has no idea what he's doing? The point of working COLLABORATIVELY, is that people who you trust (that's why you hired them) watch your back - and this in an environment where doing more than one important job at a time quickly becomes difficult and exhausting. You don't have to work this way, but you don't have to knock it either if you don't understand why some people do.

September 16, 2013 at 8:21AM, Edited September 4, 11:21AM

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RobW

I like the art. Not the tech.
And worrying about credit for "your film," is a bit arrogant.
Once I create the project, it becomes everyone's project. It belongs to the actors and cinematographers as much as it is mine. I like the collaboration and the feeling of accomplishments shared with cast when creativity from all angles makes the project better than what I concocted in the lab.
I spend so much time, writing the story, rewriting the story so that everyone involved will like it. Then, I'm no longer interested in the script that I wrote, but what my cast can turn it in to as long as the initial idea remains.
No one cares if you shot, edit, color corrected, directed and set designed while watching it. In my opinion it's just solipsistic filmmaking, just so one can add A FILM BY: (insert name).
I like finding crew better than myself and letting them have at, while operating in the shadows.

September 16, 2013 at 12:52PM, Edited September 4, 11:21AM

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VinceGortho

Without a doubt, every artist I've ever met who felt that the "vision" got lost with collaborators has been a mediocre artist at best (usually they're god awful). It's rare to find someone who can do it all. I've worked with very talented artists who could get close, but they also realized their vision benefitted from surrounding themselves with other amazing artists who could collaborate on music, cinematography, color, fx, and all the other arts that make up film. Without seeing your work I can't comment on whether you are one of those aforementioned mediocre artists or one of the rarified masters of all trades, but my spidey senses tell me it's not likely the latter. Film is a collaborative medium, if your vision is getting lost, it's because you're picking the wrong collaborators.

Full disclosure: My career currently spans 20+yrs in production and post. I've worked on 12+ features that debuted at Sundance (2004-2010), docs that have appeared in festivals worldwide as well as HBO, Showtime, and ESPN. I currently spend most of my time in the commercial world, but set aside time enough for 1 feature a year.

September 16, 2013 at 1:34PM, Edited September 4, 11:21AM

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J.

Where to get money for all news and upgrades??!!!

September 15, 2013 at 9:14AM, Edited September 4, 11:21AM

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Sergey

So that's why TESSIVE no longer offer their Time Filter in matte box, RED bought their technology and implemented in Motion Mount?

Dragon + Motion Mount puts Red toe to toe with Sony F65 + Mechanical Shutter, which is the best looking high resolution digital motion picture camera available. Sorry Alexa, I don't like that TV look, except when I'm stoned.

September 15, 2013 at 9:54AM, Edited September 4, 11:21AM

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Natt

Alexa has a TV look? Wow. Have you seen Skyfall or Drive? And did you know that the Alexa Studio has a mechanical shutter too? I'm not pushing Alexa over Red or Sony, but saying it has a TV look is rather misinformed.

September 15, 2013 at 10:48AM, Edited September 4, 11:21AM

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MWL

LOL at the comment of ALEXA having a T.V look, that is the most absurd thing ive ever heard about the camera.

Truth be told, alexa does not have any paticular look and thats the beauty of it, because you can push and grade it so far in so many different ways. Look at a t.v show like USA'S SUITS which has an amazing look, but it is denoised and compare it to MAD MEN which has a more filmic look with grain, the alexa and SONY S35 are two most productive digital proffesional scripted tv/movie cameras of all time

September 15, 2013 at 11:13AM, Edited September 4, 11:21AM

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JAYEEE

Matt, don't watch Skyfall on VHS. Watch the blu-ray or at least DVD.

September 15, 2013 at 11:53PM, Edited September 4, 11:21AM

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Sorry, I meant Natt.

September 15, 2013 at 11:54PM, Edited September 4, 11:21AM

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The Red Motion filter loses about 2 stopds of light. F65 mechanical shutter does not.

September 16, 2013 at 2:35PM, Edited September 4, 11:21AM

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Art

Definitely a nice solution and relief for current and future owners that wants those jason bourne fast moving scenes , the only other option at the moment is an alexa or used sony s35

September 15, 2013 at 10:09AM, Edited September 4, 11:21AM

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JAYEEE

Dont forget Sony F55.

September 15, 2013 at 5:52PM, Edited September 4, 11:21AM

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Correcting myself here, the Sony F55 is a true global shutter.

Not some add on to try to fix the image of the cmos sensor behind it.

September 15, 2013 at 6:02PM, Edited September 4, 11:21AM

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Only the Alexa studio has a mechanical shutter. Otherwise Alexa's are rolling shutters.

September 15, 2013 at 11:11PM, Edited September 4, 11:21AM

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Thom

And F65 has a a real mechanical shutter like film cameras

September 16, 2013 at 2:39PM, Edited September 4, 11:21AM

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Art

I got excited until I heard the price, $4500. I think i was more excited with the ND filters, I wish they'd create a cheaper version with only the ND's .

September 15, 2013 at 11:01AM, Edited September 4, 11:21AM

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Marcus

mmmm-- either buy a new RED mount for $4,000 to get global shutter or buy a brand new Black Magic 4k camera for the same price that comes with global shutter and now you have two cameras.... thanks RED for making an easy decision even easier!

September 15, 2013 at 11:25AM, Edited September 4, 11:21AM

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kevinm

You mean the 4K camera that's not even out yet and is constantly delayed, or has LESS dynamic range than the 2.5K version, yeah...the decision is pretty easy, you're getting less camera.

September 15, 2013 at 11:44AM, Edited September 4, 11:21AM

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Thom

Not all camera's look the same on the screen. I wouldn't buy a system just because it's 4K, your going to be disappointed. I would buy one because it works for your work flow and you like images it produces.

The color science a digital camera uses is a huge factor when it comes to picking a camera for a specific job. To me its like deciding to use Kodak or Fuji film because of the reproduction of color have.

Anyways its an exciting time to live in for filmmaking. :)

September 15, 2013 at 1:09PM, Edited September 4, 11:21AM

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George

Lets be totally honest with ourselves here. I know in a world where people are calling a Canon 5DmkIII a 'production camera' the appreciation for professional tools is getting a little skewed...but...

...for a lot of us who've grown up using systems like the F900, Varicam, Viper, etc, once a new system was announced you were basically forced to sell off your old camera and buy a new one. As someone pointed out if you owned an Alexa or Alexa Plus, and wanted a mechanical shutter, whoops, better sell it and buy a new one. The modularity of the Epic is pretty amazing in that to go from a rolling shutter to a global shutter now no longer requires a new camera. It's a bolt on component. The same goes with Dragon, it's a sensor upgrade rather than a completely new investment in a camera body.

Now there are downsides to the Motion Mount. I won't be selling my standard PL mount because the MM has a 1 stop of light loss due to how it works. And it's polarizer is something you can't disable, so it may cause some funkiness on skin textures. But more testing is required. It'll be a nice tool to use on a project by project basis.

I love my Epic, but I shoot with the C300, BMCC, Alexa, and film when and where required. No one camera is a perfect solution.

September 15, 2013 at 1:10PM, Edited September 4, 11:21AM

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Thom

Agreed. I would include the ML'd 5D3 in that list though :-)
We tried to find a Dragon available to shoot a major commercial job on next week, but no go. We're all looking forward to trying it out. We probably wouldn't have needed the motion mount.

September 15, 2013 at 1:29PM, Edited September 4, 11:21AM

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marklondon

How about RED just release a camera that doesn't need to be constantly Frankensteined to actually work?

September 15, 2013 at 2:14PM, Edited September 4, 11:21AM

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Fresno Bob

I suppose buying a totally new camera like Arri and Sony is the better option for owners and rental houses.

September 15, 2013 at 5:40PM, Edited September 4, 11:21AM

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Kyle

Wouldn't be a RED video if someone wasn't smoking!

September 15, 2013 at 3:07PM, Edited September 4, 11:21AM

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Mitchard

Wouldn't be real life if someone wasn't smoking, m'I right? :)

September 15, 2013 at 11:05PM, Edited September 4, 11:21AM

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Dave Kendricken
Writer
Freelancer

Just tried it four hours ago. When your in global shutter mode the mount takes away even more light than the 1,5 stops it takes away anyway. I think that was about two more stops. (I might be wrong there)

The mount did seem to reduce most of the global shutter effect, which isn't that bad on the dragon anyways. I do however prefer the global shutter of the blackmagic 4k and Sony F55. Which doesn't mean I prefer those cameras over the dragon. I just like a real global shutter better.

September 15, 2013 at 3:19PM, Edited September 4, 11:21AM

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Well the motion mount is actually trying to emulate the sinusoidal motion blur from a film shutter, not the on/off behavior of an actual global shutter. You can see the difference here: http://static.squarespace.com/static/5011d239e4b0f701a47253f9/501aef79e4...

September 15, 2013 at 5:16PM, Edited September 4, 11:21AM

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Gabe

That blur also looks twice as long. As if the shutter was 24 instead of 48. Is this actually true or fake?

September 16, 2013 at 7:13AM, Edited September 4, 11:21AM

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mikko löppönen

It's not longer, it just blends in and out instead of being hard edged.

September 16, 2013 at 5:25PM, Edited September 4, 11:21AM

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Gabe

Not sure why there's so much hate on the DSLR's. Some of us can't afford an Arri or RED even to rent. Before I got interested in filming, I couldn't tell you a thing about dynamic range or ND filters and for most people using a DSLR, they won't care. They'll just try to make it looks as good as they can with the resources they have. If people don't like it then they can either make it better next time or stop altogether. I've never heard anybody watching TV or a movie say, "the plot is great but that dynamic range sucks". It's like with the MP3. Technically the quality of the audio is horrible but that's what people are listening to these days so their ears have adjusted. I don't agree with it but that's the truth. There seems to be this overly snobbish attitude among filmmakers like, "oh, I would never use a DSLR to make a film. I'm better than that." Get off your high horse. Sorry if I don't want to deal with old school film stock either. It looks fantastic but I personally would rather streamline my workflow. I used to work with reel to reel tape machines and calibration. Guess what? It was a huge pain. Analog will always have something great about it but you won't find many musicians setting that up to record their latest albums. A DSLR is just a new version of the handheld film camera. Not the best quality but extremely flexible. What would be ideal is a version of RED's motion mount for DSLR's for a lot less than $4,000. I'm astounded as to why nobody has started a crowdfunding campaign for this. Yea, you might lose a stop or two but it's a compromise like with many other cameras. There are so many action shots that could be made with something like this during the day then take it off to get back the low light performance at night. Not to mention the huge potential for integration with a DIY quadcopter rig. People tend to have the notion that the birth of video DSLR's has led to more crappy content but there has always been horrible content out there and no amount of whining is going to stop it. Just because you make a camera expensive doesn't mean the projects are going to be decent (Uwe Boll!). Those that are fortunate enough to work with more capable cameras should encourage those who can't and not just say, "your camera sucks". You should help them figure out a solution to a problem if they're trying to fix a scene not just brush them off. All of you were beginners at some point and the sense of community is extremely important. Personally, I'm going to do some more research on a similar solution for DSLR's to try and see what is needed and what the cost implications are even though I have no experience in that field. If it can help Joe Schmoe living in Montana who just bought a cheap Canon and wants to do some action rodeo shots then hell yes.

September 15, 2013 at 6:13PM, Edited September 4, 11:21AM

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Jason Piven

I don't think anybody 'hates' DSLR's. It's just that when their owners claim them to be as good or better than true cinema cameras, like Alexa, Red Epic/Dragon, Sony F65 and/or many film cameras, people start getting their panties in a wad. Make your film on whatever camera you have or can afford to rent. In the end, if it's a good film, nobody will care what it was shot on.

September 15, 2013 at 11:48PM, Edited September 4, 11:21AM

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It's funny how people always arguing this camera is better then that and what not. The truth of the matter like it or not are the differences are only in inches at most. This is not the 90s where a high end camera made a big difference over a low end one. Fact is an Arri Alexa is not 75000 dollars better then a Canon 5D that shots raw. Because at the end of the day the big productions aren't as anal as people think they only care if it looks good enough for the project and to distribute and if it does they don't care the exact cameras that are used. It's the reason why dslrs are used on the biggest films for shots as well as a lot of major tv shows. Sons of Anarchy has used gopros before. I work on a lot of popular rated tv shows and a lot of times we aren't shooting with the best stuff the networks don't give a crap and production companies want to keep cost down. And when a show gets popular you would think more money for production, nope usually talent asks for more money and shows revolve around them so guess what, they get the money not us. 4k and 6k? How and when is this gonna be distributed. You think theaters plan to upgrade all their equipment for this? Hell no they are about making money if it ain't broke they aren't gonna switch it and the 4k projectors that they do have in theaters well those are reserved for the big big films. And if you working on a big film anyway you can shoot on whatever the hell camera you want because money isn't a issue. Shooting 4k and up to future proof your work? Fact of the matter is stuff gets dated and unless youre making one of the best award winning films your content will get dated. Fashion, people, personalities, hairstyles, environment, cars, items, styles all that gets date so say you shoot 6k and 15-20 years from now 6k is finally the standard you think your content is gonna hold up as well, very very few might but most will not. Fact is majority of movies especially Hollywood ones aren't that great and very few will out live their self life. Music videos the same thing it passes by in time.

The point I'm making is instead of comparing who's dick is longer people need to focus on the painting not the paints and brushes that's used to paint the picture. Work with whatever is in your budget and what makes you happy but don't down other tools because at the end of the day a talented artist can make magic with whatever tool they use. I work with everything form the alexia down, what ever show I'm on what ever gear they decide for me to work with I make it work that's my job. Ya I love the alexia would love to shoot everything with it even though its heavy as hell, but at the same time I see much much more cheaper stuff putting out beautiful footage too. So I'm not stuck on one camera over the other. If i can shoot a commercial on a 5d that shows in the movie theater and it looks just as good and sometimes better then some of the movie trailers its next too, well I'm sorry the more expensive cameras aren't selling themselves that well. It's fun to work with different cameras and trying to get the best out of them. Lighting is the real magic behind the camera or shall I say in front of it.

September 16, 2013 at 2:45PM, Edited September 4, 11:21AM

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Silton

This

September 17, 2013 at 10:31PM, Edited September 4, 11:21AM

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Marcus

IMO, "dual" DSLR's that are used for both stills and video will soon be losing their popularity because :
a) larger pixel /video only sensors will be made available for the lower and lower priced units;
b) the IQ of the photo stills is pretty much at the point where a fairly inexpensive MFT like the new Olympus EM1 can take absolutely fantastic shots;
c) further break-up of the market into much smaller niches - point&shoots with WiFi and smartphones, the-jack-of-trades DSLR's and Mirrorless, the medium format/high end stills, the 4K from amateur to production;
d) downward price pressure from the ever more powerful embedded microprocessors, bigger and faster recording media, greater level of automatic presets with the built-in LUT's, AF, etc. that will aid the digital production visavis film, etc.

September 16, 2013 at 12:55AM, Edited September 4, 11:21AM

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DLD

I used a motion mount. Its an improvement not a total fix.

It is great for most applications, but like all things that arent "native" it has limitations. Be aware of that.

That said its really great when you need it, especially for ND and motion artifact reduction.

I'd say it reduces motion artifacts by about 85%, and the "wave" style shutter looks quite nice, though it only reduces motion artifacts by about 70% imo.

September 16, 2013 at 2:14PM, Edited September 4, 11:21AM

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red still looks like video. adding another piece of glass isn't gonna solve anything

September 17, 2013 at 4:55PM, Edited September 4, 11:21AM

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ishoot720p

Maybe with the old color science.
You should try it with the newer builds..redcolor 3 and redgamma 3 are amazing

September 17, 2013 at 4:57PM, Edited September 4, 11:21AM

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john jeffries

Yeah I agree John. And with filmconvert (even without the grain) it's awesome

September 20, 2013 at 4:34AM, Edited September 4, 11:21AM

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Dean Butler

Such a retrograde parade, guys. Film is hell. Thank gods we have digital now. Linear editing was real pain in the ass, and my back get cold when I imagine even short film on a film itself. Crappy sound included.

September 20, 2013 at 3:36AM, Edited September 4, 11:21AM

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Oleg

バッグ通販専門店

October 15, 2013 at 4:53AM, Edited September 4, 11:21AM

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"without any dynamic range or noise penalties," plus you say the BM 4K has an ISO disadvantage but you don't mention the huge loss of sensitivity with the Motion Mount in place, making it virtually unuseable
in low light situations

June 1, 2014 at 12:02AM, Edited September 4, 11:56AM

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Mako