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Author Topic: Urban landscape with RED Epic done by Peter Lik  (Read 16199 times)
fredjeang
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« Reply #80 on: November 03, 2011, 02:34:17 PM »
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It would seem RED is heading in the right direction with this camera. But I still don't see the hype, even from a videographer's point of view. (Granted I only worked as a videographer for about a year) Yes RAW video is a major plus, but more for professional videographers than anyone else. Most of the other formats are more than workable (some more than others of course).

Other camera's have exited me much more, such as the Sony NEXVG20 albeit from more of a video stand point. When I saw that camera I wanted one right away. But with this RED EPIC, I just don't see it. Why not just get a Nikon V1? That can take stills while shooting video. It's image quality isn't too bad either.

When ever a new piece of gear comes on the scene, I have to ask myself, is it necessary? Does it improve upon what is already out there? Or does it simply add to the confusion (so many variations of the same thing)? Bottom line: Why bother with the RED camera?

http://blog.vincentlaforet.com/2011/06/09/red-epic-5k-and-hdrx/

for example.

Ps: and to add a note, today I filmed a sequence at 2 frames/sec but there was no possibility from the point of view I wanted, to get rid-of some structure I didn't want in the frame, and the use of a different focal was not an option because I needed this exact DOF. With Red, you just crop, end of the story. You can even play creatively with the cropping.
« Last Edit: November 03, 2011, 02:40:17 PM by fredjeang » Logged
ChristopherBarrett
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« Reply #81 on: November 03, 2011, 02:39:07 PM »
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Why bother with the RED camera?

For me...

The files are friggin awesome.  They are RAW and highly malleable.  I can work them as much as I am accustomed to working my MFDB files.  This isn't something you can do with most other video formats.  The files actually have superior dynamic range to my MFDB files.  I can shoot 14 megapixels at 120 frames per second... and as James has stated, any one of those frames is suitable for a print ad.  The platform is highly modular.  You can slim it down for handheld work or build it up as a full blown Cine rig.  With the interchangeable lens mounts you have thousands of lens choices.  The workflow with the RAW platform is so similar to my Phase One workflow that I was immediately at home with RedCine-X.  It's just plain good shit, man.

As you can tell, I am totally sold on the platform.  I don't jump on every new camera.  Hell, I shot with the same 4x5 for 15 years.  The Epic has me jumping though... jumping up and down like a giddy school girl (and that's a picture you don't necessarily want to see).
« Last Edit: November 03, 2011, 02:53:09 PM by CBarrett » Logged
fredjeang
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« Reply #82 on: November 03, 2011, 02:44:13 PM »
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For me...

The files are friggin awesome.  They are RAW and highly malleable.  I can work them as much as I am accustomed to working my MFDB files.  This isn't something you can do with most other video formats.  The files actually have superior dynamic range to my MFDB files.  I can shoot 14 megapixels at 120 frames per second... and as James has stated, any one of those frames is suitable for a print ad.  The platform is highly modular.  You can slim it down for handheld work or build it up as a full blown Cine rig.  With the interchangeable lens mounts you have literally thousands of lens choices.  The workflow with the RAW platform is so similar to my Phase One workflow that I was immediately at home with RedCine-X.  It's just plain good shit, man.

As you can tell, I am totally sold on the platform.  I don't jump on every new camera.  Hell, I shot with the same 4x5 for 15 years.  The Epic has me jumping though... jumping up and down like a giddy school girl (and that's a picture you don't necessarily want to see).

Chris, I'd like to know for how long it can keep-up at 120?
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ChristopherBarrett
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« Reply #83 on: November 03, 2011, 02:49:52 PM »
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until you fill the SSD


Wink
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fredjeang
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« Reply #84 on: November 03, 2011, 02:52:08 PM »
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Whao !!  Smiley
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JonathanRimmel
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« Reply #85 on: November 03, 2011, 02:58:21 PM »
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These images do look great. The video sample is fantastic. I wonder how this will be when UHD video makes its way to the center stage in a decade or so. As I stated the RAW is a major plus. But as for me, I will wait for the technology to mature a bit before I snatch up one of these. (and wait until my wallet gets fatter)
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Graeme Nattress
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« Reply #86 on: November 03, 2011, 03:26:34 PM »
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Exactly - until you fill the SSD is right. That's the difference between a camera designed for stills and motion from the ground up.
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mtomalty
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« Reply #87 on: November 03, 2011, 03:39:01 PM »
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Quote
So I got to see the actual print today. It's 10ft long and rather stunning. I don't think the small JPEG does it justice at all.


I have no doubt the quality is stellar but have I missed where the number of stitched files  was revealed


Mark
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« Reply #88 on: November 03, 2011, 03:52:11 PM »
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Mark, I don't know the details on the stitching, only that both the Epic and Phase versions were stitched. Maybe Jim will talk more about the photo this evening at the Scarlet event.

Graeme
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« Reply #89 on: November 03, 2011, 04:52:41 PM »
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" Maybe Jim will talk more about the photo this evening at the Scarlet event."

Something tells me he'll be a little too preoccupied to worry about that


Mark
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Graeme Nattress
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« Reply #90 on: November 03, 2011, 10:56:45 PM »
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Peter's statement on the photo said 12 images stitched.

Graeme
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« Reply #91 on: November 03, 2011, 10:58:19 PM »
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A quick question from someone with no motion experience.

Can a camera such as the Epic,for example, shoot at long exposure times?
i.e. is 1 sec @ f11 possible ?

Mark
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« Reply #92 on: November 03, 2011, 11:00:02 PM »
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Peter's statement on the photo said 12 images stitched.

Thanks for that,Graeme


Mark
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eronald
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« Reply #93 on: November 04, 2011, 03:29:48 AM »
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The Canon is out.
Incremental piece of sh*t.
No Raw, no AF.
Canon are trying to avoid the canibalisation of stlll cam by moving image in the studio and have thus designed a bunch of artificial limitations into their product.
Idiots.
RED will kill them.

Edmund
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Edmund Ronald, Ph.D. 
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« Reply #94 on: November 04, 2011, 09:15:17 AM »
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What is it about the RED EPIC sensor that gives it superior DR to the MFDBs?
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Mr. Rib
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« Reply #95 on: November 04, 2011, 09:37:29 AM »
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The Canon is out.
Incremental piece of sh*t.
No Raw, no AF.
Canon are trying to avoid the canibalisation of stlll cam by moving image in the studio and have thus designed a bunch of artificial limitations into their product.
Idiots.
RED will kill them.

Edmund

+1 !
Red created a new market branch of affordable, pro-level digital cameras, Canon didn't want to compete and created a branch of their own- bullshit cameras not suitable for anyone.
Oh and by the way: http://www.engadget.com/2011/11/03/canon-has-a-new-eos-movies-dslr-on-the-way-too
Maybe that's their answer for Red?
« Last Edit: November 04, 2011, 09:48:05 AM by Mr. Rib » Logged
Pantoned
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« Reply #96 on: November 04, 2011, 10:59:21 AM »
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I totally agree. Could someone enlighten me about what part of the c300 technology makes it worth 20000$? And why the Canon cine lenses cost $47,000 compared to normal ef lenses?? I can understand that they are preparing the platform for 4k but can't see rental production houses investing in this system compared to arri/red ones...

Arnau

The Canon is out.
Incremental piece of sh*t.
No Raw, no AF.
Canon are trying to avoid the canibalisation of stlll cam by moving image in the studio and have thus designed a bunch of artificial limitations into their product.
Idiots.
RED will kill them.

Edmund
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bcooter
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« Reply #97 on: November 04, 2011, 11:58:28 AM »
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I totally agree. Could someone enlighten me about what part of the c300 technology makes it worth 20000$?



Maybe Kanon's marketing research went something like this.

Dylan Hotel NY.

Kanon US of A:  So Marty . . . can we call you Marty? . . . whadda think we should charge for this camera?. . . is 20k too much

Marty:  20k wow that's some big file size, but 20, 20 . . . oh you mean dollars . . . sure, sure, I mean that's what I pay for Leonardo's toe massages . . . so 20, 20 that's nothing . . . I like 20, 20's good . . . think I'll call my next movie 20 . . . or Kanon . . . or the Kanon 20 . . . no sounds to much like a German boy band, so I'll just stick with 20, 20 I like that, 20, yea, has a good ring to it, 20, sounds good.

Kanon US of A: OK Marty, we'll go with . . .

Marty: Don't interrupt me and don't call me Marty, unless you got 20 million, yea, 20, 20 that's a good number.

Marriot Hotel, Marina Del Rey

Kanon US of A: Vinnie whadda you think about 20 grand?

Vinnie:  Uh, you talking to me, I was napping, oh sure . . . what ever you say, but you guys still gonna front my short right, because we're working on the blog right now . . . we're gonna do some cool stuff like  a car drives over the camera . . . not it's not going to hurt it, but it will be a cool shot and we won't have to dig a hole in the ground, the crew hates digging holes and sure whatever you guys think I'm good, but I don't have to pay that do I?

Dylan Hotel NY

Marty:  How's this for a scene.  I walk on stage  . . . straight over to Mr. Kanon and say, "welcome to Hollywood".  . . huh, huh, pretty catchy right, I just called Larry David, he liked it, though I think he wants to be paid, but that'll be ok, right, right, welcome to hollywood . . . I like that . . . or I could sing  . . . happy birthday Mr. President . . . oh yea right . . . that's been done . . .don't call me Marty.

Kanon US of A headquarters

Kanon US of A to Kanon Japan:  20k is good and Marty said double the lens price.

IMHO

BC
« Last Edit: November 04, 2011, 12:23:01 PM by bcooter » Logged
Fine_Art
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« Reply #98 on: November 04, 2011, 01:39:05 PM »
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+1 !
Red created a new market branch of affordable, pro-level digital cameras, Canon didn't want to compete and created a branch of their own- bullshit cameras not suitable for anyone.
Oh and by the way: http://www.engadget.com/2011/11/03/canon-has-a-new-eos-movies-dslr-on-the-way-too
Maybe that's their answer for Red?

Its the same with their regular DSLRs. A long time ago they made one with a pellicle mirror. Now that sensors are good enough to handle a loss of 1 stop of light why don't they use it again to have the camera react to the subject directly? They would rather sell a Rube Goldberg device for more money using expensive chips plus software. Why sell a civic when you can sell a hummer?
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eronald
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« Reply #99 on: November 04, 2011, 02:05:10 PM »
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Canon have intentionally chosen an inferior position rather than build on the 5D2 by adding Raw video.

Now Red is Daddy, Canon is Mommy, and entirely consensual bedroom action is in progress  Grin

Edmund
« Last Edit: November 04, 2011, 02:08:58 PM by eronald » Logged

Edmund Ronald, Ph.D. 
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