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

Sony commercial shot on Red Epic

Sony is no stranger when it comes to making magnificent advertisements. Their new commercial for the recently released A7 and A7R full frame mirrorless cameras, which features some magnificently choreographed skydiving action, is no exception. What’s even more impressive is the fact that none of this was shot on a green screen. In fact, the entirety of the spot was shot practically at an altitude of 15,000 feet, with an overcranked RED EPIC.

Sony commercial shot on Red Epic

Now here’s the behind the scenes

BTS Sony / Red Epic shoot

How much fun would it have been seeing a skydiver with an F65 strapped to their helmet 🙂

Red Epic Dragon Frame Rates

The new Epic Dragon camera allows for an amazing range of frames rates. Below is the maximum frame rate for each resolution of Epic Dragon. The minimum frame rate is 1 frame per second.

Dragon frame rates

Please note all frames rates are based on 23.98 time base, 8:1 compression with Lookaround turned off.

From romance to kids

On set with Hi5

Red Epic covers different genres

Five Red Epic cameras were used to shoot the Hi-5 movie, Some Kind of Wonderful. Shot over just five days in Sydney, the film follows the audition process to find three new performers to join the one of the world’s best loved preschool children’s entertainment groups, Hi-5.

Continue reading “From romance to kids”

Playing a role in the Great Gatsby

Baz Luhrmann's The Great Gatsby

It was lauded as one of the biggest films to be released in 2013, starred the highest paid actor in Hollywood, was largely shot in Australia – plus some of MindsEye’s Red Epic camera gear was used to film this major feature film.

Continue reading “Playing a role in the Great Gatsby”

6K shooting

With Red’s new sensor coming out now, its about time to have idea what you are getting with 6K shooting.

So what is 6K, well it is 6144 x 3160 pixels or 19.4 megapixels at a 1.94:1 aspect ratio.
6K is 9.36x more pixels than 1080p.
6K is 8.78x more pixels than 2K.
6K is 2.2x more pixels than 4K.
6K is 1.4x more pixels than 5K.
6K is 14% more resolution than 5K for a pristine full debayer down to 4K. Meaning it’s a 66.7% down sample/debayer to 4K.

What does all this mean to me?
Well if you’re thinking about a 4K finish it gives a bit more freedom for creative re-framing, cropping, or leveling. Fine and high frequency details will actually down sample into 4K and benefit from that extra resolution. There are many ways to work with and finish REDCODE for screen and print use. Over sampling and the use of a debayer pattern help eliminate aliasing artifacts. If you want crisp and detailed images there’s options. If you want a smoother feel there’s options. Just depends on what you’re after and the workflow you choose.

So we’re now in some new exciting territory!

Many Thanks to Phil Holland for all the numbers and great chart.

phfx_redDragon_whatIs6K

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.

Greenscreen TVC

Red Epic camera on a R90malibu-green-screen-b5ac2c219da1028fbf2c026e7ba8e15d

I shot a green screen shoot yesterday for a TV commercial. We approached this slightly differently than the usual as we decide to shoot with the Epic camera mounted at 90 degrees shooting 5K HD in a 16:9 aspect ratio.

By setting up this way it meant that then we would shoot the talent head to toe and just wide enough to accommodate any hand movements for the whole shoot. Because of the 5K resolution of the Epic camera combined with the added resolution boost by shooting with the camera mounted at 90 degrees meant all the reframing could be done in post with no loss of quality. The finished TVC will have shots ranging from close ups to very wide shots where the talent will be about a quarter of the screen height.

This all enabled us to shoot very efficiently without sacrificing quality.

So on your next greenscreen shoot think about mounting your camera at 90 degrees.