Thread: Cook Anamorphic Lenses & Red S8K Helium Camera

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  1. #161  
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    Something old, something new: Cooke presents vintage-look Panchro/i Classics, Anamorphic/i Primes and S7/i Full Frame lenses at Camerimage 2017- “On show will be the new S7/i Full Frame Plus lenses on a RED Digital 8k Vista Vision Camera. The Cooke S7/i Primes have a true T2.0 aperture and cover 35/Super 35mm, Full Frame and beyond. They have a common fixed front diameter of 110mm, with a focus drive gear of 140T x 0.8 mod and an iris drive gear of 134T x 0.8.”
    https://www.cookeoptics.com/u/news.h...2581C500507751

    Humberto Rivera
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  2. #162  
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    Interesting, two Worlds are moving toward an eventual clash, as “Smartphones” take over the “Photography Function” in people’s everyday lives, and cameras like the “Red MONSTRO 8K Vista vision” are able to take better “Professional Stills Photographs”. There is a vacuum currently being formed by the shrinking of the “Still Camera Territory”. It’s a work in progress, but it’s definitely there. It's called the RAW “DSMC” (Digital Still and Motion Camera), it has a nice sound to it.

    https://www.dpreview.com/news/413488...of-smartphones

    Humberto Rivera
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  3. #163  
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    Quote Originally Posted by Humberto Rivera View Post
    Interesting, two Worlds are moving toward an eventual clash, as “Smartphones” take over the “Photography Function” in people’s everyday lives, and cameras like the “Red MONSTRO 8K Vista vision” are able to take better “Professional Stills Photographs”. There is a vacuum currently being formed by the shrinking of the “Still Camera Territory”. It’s a work in progress, but it’s definitely there. It's called the RAW “DSMC” (Digital Still and Motion Camera), it has a nice sound to it.

    https://www.dpreview.com/news/413488...of-smartphones

    Humberto Rivera

    Not really. If you have ever tried to edit 250,000 frames to find roughly 9 pictures for an advertising client, you know what I am talking about.
    Just not practical.
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  4. #164  
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    Interesting, two Worlds are moving toward an eventual clash, as “Smartphones” take over the “Photography Function” in people’s “everyday lives” and the other is EVOLVING with the use of Red MONSTRO.

    I AGREE to a certain point, but the movement continues, and will eventually happen, at 35 Megapixels +. Meanwhile, like any evolving technology is “hard to do” but I presume you “did-fiend” 9 Frames (in those 10 seconds) that actually worked.

    https://www.dpreview.com/news/413488...of-smartphones

    Nikon; “In recent years [...] due to the rise of smartphones, the compact digital camera market has been shrinking rapidly, leading to a significant decrease in operating rate at NIC and creating a difficult business environment. In this context, the Company conducted rounds of thorough reviews and discussions on the global manufacturing structure optimization measures stated in the company-wide restructuring plan announced by the Company in November 2016. The Company has decided to discontinue operations of NIC.” Nikon

    Humberto Rivera
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  5. #165  
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    Quote Originally Posted by Humberto Rivera View Post
    Interesting, two Worlds are moving toward an eventual clash, as “Smartphones” take over the “Photography Function” in people’s “everyday lives” and the other is EVOLVING with the use of Red MONSTRO.

    I AGREE to a certain point, but the movement continues, and will eventually happen, at 35 Megapixels +. Meanwhile, like any evolving technology is “hard to do” but I presume you “did-fiend” 9 Frames (in those 10 seconds) that actually worked.

    https://www.dpreview.com/news/413488...of-smartphones

    Nikon; “In recent years [...] due to the rise of smartphones, the compact digital camera market has been shrinking rapidly, leading to a significant decrease in operating rate at NIC and creating a difficult business environment. In this context, the Company conducted rounds of thorough reviews and discussions on the global manufacturing structure optimization measures stated in the company-wide restructuring plan announced by the Company in November 2016. The Company has decided to discontinue operations of NIC.” Nikon

    Humberto Rivera
    I did find 9 frames and I will never do it again.
    It's a monumental effort in terms of time, energy and eyesight.
    I just don't have that kind of energy to turn around multiple projects on a regular basis.
    No one does.

    Far easier to just shoot stills and edit in a quarter of the time after. Heck, a tenth of the time.

    Further, it means that generally speaking you need to shoot at least at 1/100th of a second, probably more.
    So this is where cinema and photography are at odds.
    The motion blur necessary for a cinematic image is problematic for stills.

    Sorry but that's the stark reality.
    Last edited by C. Burkhart; 11-06-2017 at 06:35 AM.
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  6. #166  
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    It seems like an easy problem to fix (by the right person), an algorithm build into one of the future Red “Cameras Software Release” that addresses the issue of a sharp frames without the line cause by the shutter. So the algorithm would recognize two things; shutter out of the frame, and sharpens of the frame. You would input the desired IN Time Code and the OUT Time Code, the algorithm would then search for your frames. That may be a possible solution. Evolutionary is what Red is about, meanwhile the Smartphones around the World continue to erode into the “Lower Level of Still Camera”, that assaults the Hi-End camera because of the lack of revenues, the World is changing before our EYES.

    Humberto Rivera
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  7. #167  
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    I was thinking about a question that is becoming more, and more apparent as time goes by. Two different sides to the same two questions; “How much should I spend on a Making a Film? Or; “How much would a Motion Picture Film Make”? They are two sides of the same coin. One of the many choices available to the Producer/Director. We know that the General Rule is; “A Film ROI should make Two and One Half times the Original Budget to “break-even” point, but what is the Budget? MEANING Production Budget, Distribution, P&A, Publicity and Marketing; or simply putting-it, the Production Cost before it sees any Moneys Whatsoever.

    The “Motion Picture Budget” how much do I spend, or do I want to spend, or is there a limited imposed by the Produce (people putting up the $$$$$$). I know the lower the cost of Production the sooner I would make the $$$$$$ back, but then in order to attract an audience there is the cost of production $$$$$$. What a dilemma, I spend more $$$$$$ and the film looks better, or does it? It’s a question that we all have wrestled with over and over again. What is the right amount of $$$$$$? There is no answer to the question. What about the stars of the film, the more recognizable their faces, or the better actor, the more $$$$$$ you need to spend. An actor is an important part of making a “Motion Picture”, without a doubt. So the question will always persist.

    In other words what you spend before the “Paying Public” enjoys you’re film in a Theaters, and before the Exhibitor returns the Money to the Producer, depending on how the Flow of Cash Flows, that it’s to say, before it gets to YOUR hands during that initial exhibition period. That’s the everlasting question. How many Theaters are in the “Film Exhibition Process” (four to six weeks), “more or less”. The more Theaters the better for maximizing of Monies over a wider range of marketing expenditure? You should also try and balance the “Budget Spend on the Film” Vs. the “Amount a Money” coming in from a “Paying Audience”, be-it however it comes in, in whatever currency.

    Generally there are two different Markets, Domestic (U.S. & Canada), and Worldwide, meaning the rest of the World. There are the Top 20 Markets were the BULK of the World Revenues come from, the rest are probably being pirated or sold by a sub-distributors, or just simply will not count.

    Now mind you whoever is paying for the “Creation of the Film Production” (usually not the studio) wants their cash back as soon as possible, there are many incarnations of the “Entity that Pays” the Produce for a Film, but whoever they are, they want their money as soon as possible? In the “old-days” it used to be “last-in – first out”, but that was in the days of “Actual Prints” send to Theaters far and near around the World. But things have changed. Now you send a print on a computer disk, with multiple languages for further copies to be made by the Local Distributor in different Countries. You can guess how easily it would be to pay a low lever employee for just a few hours of time with the hard disk drive.

    But the 900 pound gorilla in the room, are companies like Netflix, Apple, Hulu, Disney or whoever, there are many, and many more are about to enter the game, and others, they can distribute around the World simultaneously from a central location in the United States, or wherever they happen to be, it’s the “Internet Downloads” that is lowly beginning to inch itself in. I see a trend materializing, where Films have a “Skinner Box Office Receipts”. Not sure why, but is there, the “Film Business” is going through a radical change before our very eyes, TODAY!

    So where does that leave the “Red MONSTRO 8K Vista Vision Camera” (and the soon to see the light of Day “Helium Sensor Full Frame”), if ever a release to fit into this discussion? MY OPINION: I think it makes sense to own three or four “Red Digital Cinema Cameras” (of whatever persuasion). Why? A hypothetical Camera Package would include FOUR Red Cameras, and ONE complete set of Cooke S7/i Lenses, and something to get you a “First CUT”. You would be ready to make any kind of deal within your affordability, with anyone in the WORLD who came along, be-it to produce a Drama, Action Adventure, or Comedy.

    That would keep the Budget within a reasonable level on the Red camera side. If you can do your own Film (or investing on some one’s Film). It probably would not be a major “Motion Picture” but one that you can do this with, there are thousands of “Motion Pictures” Produced every year on a Worldwide Basis, and again who knows, that’s up the Gods. If you’re in it for the “Long Hauled” the returns can be substantial. Just in India alone there are over 400 Motion Picture alone, think “Globally” thousands per year. There are also about 10,000 “Motion Pictures Scrip’s” written each year, that would never see the light of day. Lots of dream put down for the “long sleep”.

    The “Long Hauled” scenario has the possibility to have a long range ROI or you might just sell-it, it’s up to you. It might be better than any short term investment. You would have the “Latest Technology” for the eventual introduction of the “8K Universe” when it arrives, in Theaters and specially on the Small Screens, be-it Television, Computer, Phones, Tablets, or anything else that we haven’t tough off yet. For AROUND a $1 Million Dollars if you can afford it (give or take), you can position yourself very well for the “Distant Future” (8K Distribution) with four cameras, one set of Cooke S7/i Lenses and whatever other small things you need for support.

    But whatever you do, have a smart “Attorney & Accountant” at you side, at all times, for all the Contracts that you would need on every move of all “On-Going-Contracts” that would emerged. If you think about it, it’s really not that farfetched to raise $1 Million Dollars (from partners or investors) for a project that would generate enough revenues for a heathy ROI. One of your biggest assets is the equipment itself, it can be good collateral. “DISCLAIMER” This is only a suggestion for anyone to attempt, I would not want for anyone to interpret it as “Financial Advice” or any other way, consult YOUR OWN Financial Consultant.

    Here is a quote from The Guardian U.K.; “In a year of aggravating assaults such as the fantasy mish-mash tosh of King Arthur, the heavy-metal headache of a fifth Transformers film and Kingsman’s caffeinated, cartwheeling sequel, the languid pace of Blade Runner 2049 stands out like 2001’s monolith: a mesmerizing reminder of cinema’s capacity to instill awe. At one point it is revealed how the latest replicants are “born”, splurging from suspended sacs filled with amniotic fluid. Denis Villeneuve and his cinematographer Roger Deakins seem to have agreed on a similarly immersive approach, practically drowning viewers in visual immensity.” End the quote from The Guardian.

    For example the following numbers say it all; Blade Runner 2049, Domestic, $88,650,463– 35.6%, Foreign $160,275,037 – 64.4%Worldwide $248,925,500. The Film cost $150,000,000.00, 2.5X Times that amount would be $300,000,000.00 and were leaving the P&A, Publicity, and Marketing Cost out of this. We’re still waiting on other Countries to Chime-in, but it does not look good not for a $150 million Production Budget, that does not include Marketing Cost. It would have to make $350 Million Worldwide just to break even, and then enjoy its post Theatrical Live over several years.
    https://www.theguardian.com/film/fil...nis-villeneuve
    http://www.boxofficemojo.com/movies/...nnersequel.htm
    But what-if the Budget had been lower like the case of; The Visit, Domestic Total Gross: $65,206,105 - 66.2%, Foreign $33,243,957 - 33.8%, Worldwide $98,450,062, Production Budget $5,000,000. So which one was the best investment?
    http://www.boxofficemojo.com/movies/...mhouse2015.htm

    I would say the NEW budget TARGET will be between $25 Mil (or slightly lower) and $45 Mil (or slightly higher) if the Distributor want everything to be OK for everyone involved. So where does the monies come from, there will be a boom of new actors , or the currently stablish “A” list will required a new adjustment to their fees, this might take a few years of adjustment to reality for Actors, Producers, and Directors, it will be hard, very hard, either that, or they will find someone else. We’ll have to wait, because the temptation to do a handsomely budgeted new action “Tentpole Film” is just too GREAT of a RISK. But there will always be ONE or TWO.

    Here is another quote from The Guardian of London; “Analysts estimate that the lifetime value of a film can be as much as double what it makes at the box office. For example, The King’s Speech made just over $400m globally in cinemas but has probably amassed about $1bn once its-post multiplex takings are included. About 25% of the $1bn is from the ever-shrinking DVD market, maybe 15% to 20% from pay TV broadcasters for premiere rights and 10% (and growing) from services such as Netflix, Amazon and Apple, according to Ampere Analysis. Colony has invested in Weinstein properties before. In 2010 it bought their original studio, Miramax, long after the brothers had sold it to Disney in 1993. Colony made a quick profit on the $660m deal, selling the business and its 700-film back catalogue – for hits such as Shakespeare in Love and Pulp Fiction – to Qatari broadcaster BeIn Media last year for a rumored $1bn.” End quote. What your Film Makes at the Box Office affects what comes after, that very important to understand.
    https://www.theguardian.com/film/201...os-cinema-gems

    Humberto Rivera
    TIP; look up in GOOGLE (Amortized $1M loan or "credit facility"); See what you get? Consult your Legal Consultant, always.
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  8. #168  
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    This is a hypothetical reason for the creation of a 3D Construct, which utilizes a Globe as the Construct, but it can be anything that works for you, for how a Motion Picture might advance forward from its inception of a SCRIPT to its final stages. Let’s us create an “Abstract Circular Thee Dimensional Monolith” for the Creation of a Motion Picture, which may or may not be produced. The “3D Universal Monolith” can be a construct that may allow you to able to walk around it, or flip it like a Giant Globe, to get a multidimensional links of every detail you put into-it, expand it or contracted, add to it as you wish. So remember this is HYPOTHETICAL.

    With this in mind we have a Script at the CORE of this construct, it will “expand and shrink”, till is just right. Enter the Producer/Director or Filmmaker, and we have a slight change to the Script Construct that we just finished. The Globe is beginning to take shape. We’re still working with a “Written Script” subject to as many mind that are interpreting the “Written Word” by three to five people who talk about it from different perspectives; such as art, performance, costumes, money, distribution, publicity and many others. At this time is just talk and talk with the “Written Word” as our only point of reference. Enter the Entity that is going to pay to make a “Motion Picture” (Producer) and everything changes, from the Director of Photography, what kind of Cameras would be used, what actors they might be able to afford or talked into being in the Film, the construct continues to take shape.

    After all anything and everything affects cost. So the metaphor for a BUDGET is always an integral part of this “Abstract Construct”. So now enters the Costumes Designer, the Production Designer, the Budget Director who begins to construct a budget, each a sublevel, on the last version of the Script, the Storyboard Artist to interpreted the Film with the aid of the Director, and Cinematographer, the Globe is coming from in the minds of many opinions to take a more formal shape, it’s beginning to look like a potential Motion Picture, but were not there yet, it evolving. It look like a Football (soccer ball for the U.S.) getting inflated, as it does it takes different sizes, eventually it might resemble a Full Grown Globe, but we’re not there yet.

    Now comes the casting; at this time many things will affect this project. Such as how you cast, are you looking for a new face with talent, are looking to cast recognizable people for the many parts in you script. Are you going to do a cold reading of the script, and for how long is your script conference going to last. Are you going to rehearse the script, and for how long. They are all line items in your ever expanding budget, that might have foreseen, or not. Meanwhile the Set Construction continues, the Budget Continues to adjust itself, and so-on. On the technical side are you testing the cameras, viewing the results with different departments. Planning your dynamic actual expenditures against your stipulated budged, making adjustments as you go.

    Imagine a Beach Ball, or one of those thing you use to exercise with. Or better still the character of Tony Stark in Iron Man played by Robert Downy Jr. He has a voice activate “Super Computer” that can generate in the “Abstract of a Construct” of his surrounding or his mind of his own thoughts into a “Three Dimensional Object” that he can extract parts of it to the side, so he can extract pull out of the “Global Construct” to itemized and look at various sub portions, and then put them back in the larger universe, which can be expanded to any size, from the miniscule to a giant representation of his VISION.

    I left a lot things out like; the obligatory Song & Dance Number of many Indians Films, or the Obligatory Spectacular Opening Scene of a James Bond Film, think of Daniel Craig in the Streets of Mexico City staging “The Day of the Dead” for the Film opening, S.P.E.C.T.E. “The James Bond” film that was shot with Panavision Cameras on 35mm Film. So no matter what kind of choices you make, they are in this Global Construct. Be as details as you want to visualize your film, you’ll be guided by your imagination. It might not even be a “Global Universe” you might want to use, it might be something else, like a rectangular box, whatever. But YOUR VISION must be communicate to others, somehow.

    In S.P.E.C.T.E. the James Bond film shot at different locations throughout the World. United Kingdom, Mexico City, Italy, Morocco, Austria, Sweden, Second Unit throughout the World. At each location they had to use people from those countries as part of their crew, in accordance with local regulations. So this Globe becomes full of little Globes within a larger Globe. This Globe is metaphor, which functions a temporary LOCATION, holding ALL of parts, a metaphor for creating a budget connected with everything in the Motion Picture Development Process, as well as the Motion Picture that evolves, you can use whatever you like that can handle a dynamic complex format as you move along in 3D. Whatever works for you?

    ONE NOTE: I hear tell! That Red is working on a 3D Phone, with what options, I don’t know, but they are working on it! Microsoft has been working on a 3D display that can be access from any point of the Hologram or 3D Display, and who knows what apple are doing? So the Hardware is definitely coming to a Phone, Tablet, or Computer near you in the not too distant future. So why not begin to imagine a Software for those devices whatever their displays turn out to be. Nonetheless, computational imaging is still in its infancy, so it has a long way to go, but at a breakneck pace, in no time 8K Televisions will be a common place event, you’ll find them at Circuit City, if they survive the Amazon Attack.

    So the BIG DAY arrives, the cameras are ready to roll, you have delegated many decisions to other people that report to YOU, they also have ideas, do you incorporate them or not into the Motion Film. Decisions, decisions and more decisions. You move through the Creative Process till one day you get to finish principal photography. Now comes the Post-Production process. VFX, Music, First Edit, Second Edit and it goes-on till you feel confident with the entire process. 8K will be here soon, and where are all the 8K production? Well there is the “RED Weapon 8K MONSTRO Vista Vision” Camera, Film shot a long time ago in Super Panavision like “Lawrence of Aribia”. But all those shot with the Sony and Arri’s of the World, well another GOOF. It seems that the inertia of moving to another level is just too great for the whole industry to overcome.

    There are a lot of things missing from this example, because after all, is just an EXAMPLE of what goes on into the Construction of a Motion Picture Film. There are lots of people contributing to it Creation, just look at the end credits of any Motion Picture, big or small, there is definitely a lot of people’s contribution in the totality of it all, you have to be feed them, transported from on location to another, lots of unions to satisfies their Union Contract, lots of details, and details. That why it takes a Temporary Village to come together for a specific amount of time.

    I’m a sucker for Full Frame Resolution. Every time that HBO or Movie Max has the “Hateful Eight” on TV, I find myself watching it without being conscious of the fact that I must have watch it umpteen time before. Also there is something that goes together with the Resolution, which is the Aspect Ratio, I imagine a Full frame 65 mm Negative going through the Camera’s Aperture, and then to the Digital Transfer Chain onto the Hard Disk Drive. In this case Resolution and Aspect ratio do go together, but on a Forged Carbon Fiber “RED Weapon 8K MONSTRO Vista Vision” Camera the same thing does happen with a Wide Screen Aspect Ratio. Let it go to whatever HI-NUMBER it achieves with the Helium Sensor “if and when” they released it. Right now is 7K, but IF you HAD a Cooke 1.3 Anamorphic Extension added to the Cooke S7/i Lenses, and whatever the number of “Ks” were on the camera, well that’s a game changer that would difficult to compete with, because of the REDCODE R3D Files. It’s already a game changer with the MONSTRO 8K Sensor, I’m just saying, it would be a definitely be a real game changer.

    THIS IS MY OPINION; why would I choose a Forged Carbon Fiber “RED Weapon 8K MONSTRO Vista Vision” Camera (or the full frame Helium Camera when released) the reason is R-E-S-O-L-U-T-I-O-N, one more time the R-E-S-O-L-U-T-I-O-N, as well as Dynamic range, Low Light Usage, the prospect of new Helium Full Frame Camera are SOME of the reasons why. The Cooke S7/i Lenses with their Cooke Look and T2 Speed, because they cover the entire 46.31 Image Circle of the frame with no excuses. Red’s METADATA RAW R3D Files (protected by a U.S. Patent) for each and every frame. A combination of Metadata that can be use with the Cooke S7/i lenses for VFX creations and anything else you might think off. One of the reason you can pull out all the frames that are sharp and blow-it up to 35.4 megapixel stills from the 8K Vista Vision Camera footage is because of the 8192 x 4320 = 35,389,440 megapixel for each frame. Look at recent Motion Pictures like; “The Legend of Tarzan”; “Transformers 5”; “Guardians of the Galaxy Volume Two”, “Logan Lucky”, and many more. It’s really a no-brainier, to use the “Red 8 VV Brain”, pun intended.

    Humberto Rivera
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