Thread: What about docs?

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  1. #31  
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    Then for doc shooting, maybe Sceptic's got a point--if we're back to shooting 35mm load lengths, with the alternative being a drive that might fail on set and the nightmare of a re-shoot. Are there any solutions on the horizon?

    It would be cumbersome, but could you make your own raid 1 by running two drives (maybe one on the camera and one on your belt), in effect giving yourself a mirror drive?

    [/QUOTE]Also, if RAID dies on set, it'll probably let you know. So you can re-shoot.
    [/QUOTE]

    What indications would you have? Could you tell while you were shooting or only on download?
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  2. #32 Just don't RedDrive off that clifffffff 
    Senior Member Blair S. Paulsen's Avatar
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    Considering that Peter Jackson shot "Crossing the Line" with the RedDrive in a stock config from jibs, helicopter mounts, handheld, etc I am feeling pretty good about its real world chops. The recording of image information on any medium from 65mm film to flash cards has some mean failure rate based on ruggedness, mechanical operation, environmental factors, etc. I don't think it makes sense to get hung up on alarmist speculation about the RedDrive system when it has had so few hours of field testing.

    I am planning to get 3 RedDrives and use them for everything except the obvious high vibration/shock situations. If my own usage or an avalanche of reports on this forum tell a story of high failure rates outside of controlled situations then I will consider flash based storage. The big advantage of waiting is also higher capacity and lower costs. In the meantime if I have a specific situation that screams for flash media I can rent and help some paranoi... I mean fellow Red User pay off his flash modules :shifty:

    The cost to reliability to efficiency equation for the RedDrive looks good on paper, if it holds up in the field it will be another feather in the Red cap.
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  3. #33  
    Senior Member Nick Shaw's Avatar
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    I don't think the RED-DRIVE was in the standard camera mounted configuration for PJ's helicopter shooting. Didn't somebody say it had to be held on somebody's lap to protect it from vibration? Still hoping it will be fine in most 'normal' situations though.
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  4. #34  
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    FWIW, Ken, just saw this over on HD for Indies, so maybe it's somewhere in between:

    At the data rates for 4K @ 24fps discussed at IBC, that's about 18 minutes of 4K RAW 4:4:4 10 bit log REDCODE RAW per 32GB cartridge that fits inside the camera body.
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  5. #35  
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    Quote Originally Posted by sharkguy View Post
    Again, I'd say absolutely YOU CAN DO IT - I'm planning on it. It's not voodoo, it's a camera. Frame, focus and hit record. The main issue that may not be fully understood by us EFP guys with no cinema style background is focus. Yes there is the issue of adjustable shutter, frame rate and exposure settings that also may be new to some of us but it's simple and we'll save that for later.

    I think it is important to clearly understand the focus concerns in 4K raised in reduser are primarily cinema-centric. Obviously the shot needs to be in focus no matter what but let's clearly define the concern so that shooters in EFP like you and me that are invested in REDONE and excited about its potential remain in focus:

    Cinema style - DP's job is to conrol every photon that hits the film plane or CMOS sensor. To effectively paint with light. This is usually done in fstops between WFO and f4 depending on the lighting budgets. Typically more towards the lower end as less light is more from an artistic standpoint. There in lies the critical focus concern - the DOF (depth of field) at lower fstops.

    EFP - Exterior daylight with REDONE is less "challenging" for focus since we are working at higher fstops where the DOF is far more forgiving. Take the Peter Jackson aerial footage shot at f8 - everything is in focus from 10' (?) to nearly infinity. You didn't see an AC racking focus on the fly in those shots. The fun challenge as a filmmaker with REDONE EFP in the field is selecting the right combination of ND and pola filters to achieve fabulous 4K images not shot HOT at f22 - this is assuming the camera rating of 320 in equatorial sunlight at mid-day. The result - washed out images that Jim refered to as "don't shoot everything at f22."

    So if I am filming a pod of spinner dolphins moving off in to the sunset at f4 and fading fast, yes it's possible I may buzz the focus as a one-person shooter given the fading light, fast moving subjects and the piloting skills of the boat driver - that challenge is part of the fun for me.

    Obviously there are exceptions already mentioned previously in this thread. I am a natural history filmmaker and speak from this POV. Please keep in mind I am not a master but rather a student of film. I am sharing based on my experience and opinion and may be wrong at times. But hey - there are masters on this forum that are contributing freely of their knowledge - now that's way cool!

    PS - I say student of FILM just to pull Gibby's chain - the best part is he get's my sense of humor and has said, "keep 'em coming Sharky." Not sure if that's a warning though?
    Apologies for quoting in full, but I very much appreciate you posting this, Ken. It's more than a little intimidating to read some of the posts from cinema-style shooters about tape measures and 3 ton grip trucks etc. I frequently wonder whether I am fooling myself that I am ready to own and use a camera like this.

    I sense that you are also one of the more modest people around here. Funny how those with the most to brag about are frequently the most humble.
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  6. #36  
    Red Savant Steve Gibby's Avatar
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    The SuperGrip thread in the Off Topic forum has some fresh info on the SuperGrip and RED Motors that should be of close interest to doc shooters, or for that matter, for all EFP shooters:

    http://www.reduser.net/forum/showthread.php?t=2070

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