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Author Topic: New Red Canon mount  (Read 9950 times)
Tim Jones
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« on: August 30, 2011, 02:50:41 PM »
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This makes the Red even more appealing :http://reduser.net/forum/showthread.php?62580-Everything-you-wanted-to-know-about-the-EPIC-Canon-Mount

The Canon lens mount is "SMART" which means it controls camera Iris, Image Stabilization, and Autofocus electronically, via the various control options with EPIC ( touch screen, side handle, REDMOTE

And, makes for better still shooting with AF using the Red.
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ChristopherBarrett
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« Reply #1 on: August 30, 2011, 10:50:03 PM »
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Smiley

Ordered mine within 10 minutes of it going up on the store late sunday night.  Epic + Canon 17mm TS-E + Architecture = Me Jumping Up and Down Like a Little Girl
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Morgan_Moore
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« Reply #2 on: August 31, 2011, 01:41:33 AM »
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the thing about reduser is the loooooooooong threads make it impossible to find any info

AF - does it work with this thing and how

Is the motion of the lenses actually smooth .. or steppy

S
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Sam Morgan Moore Cornwall
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bcooter
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« Reply #3 on: August 31, 2011, 04:22:42 AM »
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Smiley

Ordered mine within 10 minutes of it going up on the store late sunday night.  Epic + Canon 17mm TS-E + Architecture = Me Jumping Up and Down Like a Little Girl

I'd be slow in ordering an Epic.  Even the RED site says this camera is not ready for full production.

Batteries, the talks of overheating, too much too worry about in production.

I have no doubt Epic will get there, but all the parts need to be on the shelf, all the beta testing needs to be completed.

IMO

BC
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Robert Moore
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« Reply #4 on: August 31, 2011, 10:06:50 AM »
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Red's upgrade policy almost mandates early entry...thirty days to pay when notified or
sacrifice your place and the very generous discount.

Bob
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ChristopherBarrett
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« Reply #5 on: August 31, 2011, 10:29:57 AM »
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Cooter and I, who bought our Reds used aren't eligible for a stage 2 or 3 upgrade (unless his are "un-executed").  So, no early adopter incentive here (other than having the camera in hand).  I wish I had got in  a year earlier because it's actually an amazing deal. Somewhere around $20k savings for customer loyalty appreciation is rather astounding.
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Robert Moore
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« Reply #6 on: August 31, 2011, 10:58:59 AM »
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Really sets the bar for customer loyalty.

Amazing product....from EXCam to raw is such a wonderful change. But a whole
new level of workflow. Still wrapping my head around some of the process.

Bob
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Graeme Nattress
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« Reply #7 on: August 31, 2011, 11:22:36 AM »
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Robert - I can try and help on workflow advice.

Graeme
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Robert Moore
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« Reply #8 on: August 31, 2011, 12:04:10 PM »
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Thank you Graeme!

In EXCAM I used Cineform FirstLight to convert to 442 10bit files in Cineform...loved the film stock emulations and color control there.

With Red I have tried ReMaster to convert to Cineform files and then mimic my FirstLight to PP 5.5 workflow but the conversion
takes forever...and lacks the control the raw workflow in RCX allows.

Mainly shooting 4K 16x9 and need a flow from RCX to PP 5.5 saving raw files but also an output at 1920x1280 for Vimeo.

Any advice on workflow will be greatly appreciated....perhaps in a new thread to keep this from getting too offtrack.

RedGamma Vs RG2? Redlogfilm?

Thanks again,


Bob
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Graeme Nattress
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« Reply #9 on: August 31, 2011, 12:09:02 PM »
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Adobe has a pretty good native workflow avoiding the need for transcoding. Might be good to ask your questions over on reduser where PP users and Adobe can help with more details.

RG2 is better than RG. RLF is designed for when you want complete control over grading in a film-grading style and also for transfer of data over to VFX in a way there's a guaranteed linearization so they can work in linear light (you can also send then EXRs and match back to them).

Graeme
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ChristopherBarrett
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« Reply #10 on: August 31, 2011, 12:10:35 PM »
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Robert,

Have you tried using the Raw Red footage in Premier?  Works beautifully of for me.  Stick with RG2 over RG for sure.  I'm also liking RedLog Film for it's dynamic range but it requires a lot of tweaking to get it to feel right.... I'm usually crushing the blacks a bit and adding mid tone contrast with an S-Curve.

Red Workflow thread?  Why not!


Or UH... yeah, what Graeme said!
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Graeme Nattress
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« Reply #11 on: August 31, 2011, 12:12:28 PM »
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For grading RLF you need to add in some kind of film-print emulation LUT which is a nice contrast-adding S-curve. Grading "before" that curve is film-style and grading after it is like grading RG2 "video" style. Both work - and some top colourists do both.

Graeme
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bcooter
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« Reply #12 on: August 31, 2011, 12:47:02 PM »
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Cooter and I, who bought our Reds used aren't eligible for a stage 2 or 3 upgrade (unless his are "un-executed").  So, no early adopter incentive here (other than having the camera in hand).  I wish I had got in  a year earlier because it's actually an amazing deal. Somewhere around $20k savings for customer loyalty appreciation is rather astounding.

Don't get me wrong, I was one hour away from owning an Epic and have no doubt I will eventually go that direction.

I'm just under very heavy production and when I weighed (pun intended) the difference between an extra new RED One, for about 1/2 the price of a hand built Epic, which stripped own is about a 3 to 4 pound difference I figured I could eat my wheaties and lift 4 extra pounds.

I'm a big fan of RED and not because of the actual camera, but the look the camera produces.  We're now in the process of cutting 10 videos.  85% of the footage is from the two REDs, 10% from the Sony FS100 and 5% from the 5d2.

The 5d2 looks good under certain circumstances, the Sony no matter what I do looks like Video and the RED looks like movie film and even knocked down to prorezz, still looks 50% better, period, bet ya money, etc. etc.

Now where this all goes in tech none of us know, because things can change in a heartbeat, but the only thing any of us want RED to do is get their cameras to market and finsihed, everything on the shelf, ready to buy.

IMO

BC
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ChristopherBarrett
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« Reply #13 on: August 31, 2011, 01:07:17 PM »
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If I had your calendar I wouldn't want to break in new gear on location either.  Better to transition during "free time" when you can test and figure out what accessories you forgot to order.  Funny thing is... I'm totally slammed right now and imagine that my schedule is way more relaxed than yours.

3 Projects are due this week, shooting a new furniture brochure the next two days, the new Top Shop store on Michigan Ave sunday, my first national release TV commercial next week and then prepping an architectural film shoot in DC later this month.  Phew.  Meeting in an hour to interview a potential Producer / Studio Manager to help me get some breathing room back.  Crap!  Time to go!

LOL...
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Kirk Gittings
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« Reply #14 on: August 31, 2011, 01:49:34 PM »
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On another sort of related topic.......Maybe I am missing something out there.....You know what I have been longing for with architectural video? A motorized shift lens (or adapter for existing t/s lenses) for panning up or down tall structures (that way you could pan WITH corrected perspective. I've had to do it off of stills which is a little wanky or allow for the perspective changing through the vertical pan. You guys know what I mean?
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Thanks,
Kirk

Kirk Gittings
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Robert Moore
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« Reply #15 on: August 31, 2011, 02:57:08 PM »
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Kirk,

That sounds very complicated. Would a vertically oriented slider or a small jib with gimbal work?

Bob
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Robert Moore
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« Reply #16 on: August 31, 2011, 03:01:44 PM »
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Grading "before" that curve is film-style and grading after it is like grading RG2 "video" style. Both work - and some top colourists do both.

Graeme

So a preliminary grade in RCX for color temp, iso FLUT and contrast then output to PP/Cineform for film-print emulation and editing is not
excessive? My stills MF workflow is so efficient that this seems like a kludge...

What is the preferred output format from RCX that approximates a TIFF with sidecar?

Thanks,

Bob
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Robert Moore
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« Reply #17 on: August 31, 2011, 03:04:42 PM »
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but the only thing any of us want RED to do is get their cameras to market and finsihed, everything on the shelf, ready to buy.

IMO

BC

Maybe:

http://reduser.net/forum/showthread.php?62817-Tonight!

Bob
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Morgan_Moore
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« Reply #18 on: August 31, 2011, 06:30:51 PM »
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Robert - I can try and help on workflow advice.

Graeme

Considering this is a thread on the Canon mount maybe you would care to comment on the suitability of using canon as a cine lens

(my guess is the motors just are not really up to it)

Also can you go through (as reuser everything is buried)

The AF capabilities of the Canon/Epic combo

Thanks

SMM
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Sam Morgan Moore Cornwall
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ChristopherBarrett
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« Reply #19 on: August 31, 2011, 07:43:43 PM »
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A slider or jib is not going to get you much movement for a building exterior.  Shifting a lens may get you from top to bottom on a small building but remember you're shooting horizontal, so you may not reach the top.  I wonder if the gearing on the shift is smooth enough to pull off the move?  Kirk, you got a 5d yeah?  Give it a go.  I'll check it out when I dig myself out from under shooting/retouching  Wink
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