Red’s new camera

It’s all happening again, Red has made a cryptic announcement of an announcement coming on July 6th.

Jim Jannard the founder of Red Digital Cinema posted on RedUser “July 6th. 9am PST. Right here. You need to be online. You need to tell everyone you know to be online. Have your credit card ready. This is a new product category. It does not impact your RED camera.”

Jim Jannard later posted its “Much bigger than a codec and much smaller than curing cancer.”
Continue reading “Red’s new camera”

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Red Dragon scores highest ever

Red Epic DragonThe folks over at DXOmark, who have become the bible of camera testing , have tested the Dragon and the results are pretty incredible. The Dragon rose above all still cameras tested before it, including the best full frame and medium format cameras. Combining the best imaging sensor with the ability to shoot 100 frames per second opens up a whole new world of imaging to photographers.

http://www.dxomark.com/Reviews/RED-Epic-Dragon-review-First-camera-to-break-the-100-point-DxOMark-sensor-score-barrier/Overall-score-Epic-Dragon-takes-first-place-101-points

DXOmark went on to praise the Red Epic Dragon camera –

As the new leader in this category, the prototype Epic Dragon surpasses the Phase One P65+ and P65+ HR models in color sensitivity, and it marginally exceeds the mighty Phase One IQ180 digital back in our rankings.

– The highest color sensitivity ever measured: exceptionally low noise at the base ISO.

– The headline news is, of course, that of the Dragon’s exceptionally low noise levels. The SNR (signal/noise ratio) curve shown above is simply outstanding – it’s higher than the Nikon D4’s curve for the whole of that sensor’s signal response. The shape of the response curve is interesting as well.

– This noise curve, coupled with a good color response, leads to a very high color sensitivity. At the pixel level (screen mode), the color sensitivity is simply the best ever measured. We normally calculate color sensitivity using an 8-bit output sRGB colorspace. In this case, however, the 8-bit sRGB color space was not large enough to accurately represent the color sensitivity of the Epic Dragon. As a result, we had to switch to a 16-bit sRGB color space!

– this new technology just may forever change the way both footage and stills are shot in the future.

For the tests, the camera was set to full 6k resolution at 23.98 fps, 16 bit and RC 5:1 compression.

Great new tool to setup all your Red Epic/Scarlet buttons

DSMCResourcesIconRed has released a new set of tools for Epic or Scarlet camera users.

One of the tools is amazingly good, it is visual tool for key mapping so  you to setup all the buttons / keys on your Epic camera while using a Mac or PC. Once you have run the program and setup all you button / key choices you save it to a camera SSD and then load to your camera.

Its a so much quicker, easier and simpler way to set up your camera using this program. This tool would be great for anyone one who either rents an Epic or Scarlet or  uses multiple cameras on a shoot. A great way to have all the keys / buttons setup uniformly.

The tools included in the latest release are:
REDMote Upgrade Utility
RED Guide Creator
RED Key Mapper

https://s3.amazonaws.com/red_3/downl…olkit_v5.1.zip

Power of 5K

This TVC is a great example of the power of shooting 5K. By choosing such a high resolution to shoot in enabled an extremely flexible outcome in post. The camera was mounted vertically to make the most use of the resolution, and the shot was framed head to toe with just enough room to allow a few hand gestures. While all the shot sizes had already been decided prior to the shoot, we didn’t have to worry about shooting anything besides the one shot size, knowing that it meant we could get a shot from an extreme close up all the way to an amazing wide shot if needed.

The shoot was a fun day. The director loved the freedom as he knew a shot take could be used in any size in the end TV commercial.

One note for this approach of reframing in post is that I would not recommend this for anything other than a chromakey shoot or white limbo background, as with reframing in post you loose all advantages of being able alter your depth of field with your shot size changes. Vertical shoot

The next Red Epic …

The next Red Epic is Epic Dragon and it is now out and about. Red has released a few Epic Dragons for testing and evaluation of the new sensor and electronics. So far the word is great.   Added dynamic range of some say 3 stops over what the current Epic has makes this truly stunning.

One test was shot by Aussie Director/DOP Mark Toia and he was quoted as saying that now the Epic Dragon see what his eye sees. Anyway proof is in the pudding so heres what he shot. Please remember this is a camera thats in beta and still has not got all the colour science and post work out, so if you like the pics now remember they will only get better and better as Red releases camera updates and Redcine software updates.

The cost of 4K


cost of shooting 4KOne of the most often asked questions is “How much is this gonna cost us to use 4K ?!” Well a great article from AbelCine goes through the costs on a multi camera shoot for both 4K and 1080 (HD) production.

The rumours that shooting 4K are way more expensive are busted.  The cost for shooting 4K is the same as shooting 1080. The costs of the post are explained by Juliet McNally at AbelCine.

They have worked out the its a 55% increase in cost, but think of all the advantages. From an audience perspective, it starts with improved quality: unprecedented levels of resolution and contrast and, ultimately, a much more dynamic, engaging and immersive entertainment experience. If shoot and finish in 4K you are future proofing as 4K Tv sets are being sold in the states for $1200 also youtube streams 4K footage today.

To read the great article http://blog.abelcine.com/2013/05/21/the-cost-of-4k-from-acquisition-to-archiving/

Setting up an Interview

Setting up EpicI have a big interview series shoot, where we are interviewing heaps of legends from Australia’s film and TV industry. Shooting on a Red Epic to ensure nice short depth of field and and a cinematic feel to the finished video. Thanks to Eve Brown (Production Manager) for sitting in for the pre-light at the beautiful Theatre Royal.

We decided to shoot at 4K resolution with an f-stop of 2.8 to achieve a beautiful soft background. The rich red tones in the theatre look superb. I am looking forward to the next few days of shooting with the great team from The Milkbar.

Screen Aust Epic shoot

Screen Aust2

The lighting I am using are a mix of Lowel Tota lights and Dedolight or Dedo’s