Good idea for the FF35 systems

[George A.]

Hi!

Many of the future customers who will be using the FF35 sensor (either on the Epic or Scarlet) will use spherical lenses that cover the full sensor (such as still lenses) BUT will later crop to widescreen (16:9 or 1.85). This will be for reframing in post purposes: very akin to shooting Academy 35mm with the aim of finishing 1.85 for theatrical distribution. Since reframing is a hugely valuable extra tool to have in post, I am absolutely positive that some - if not many - users will go this route if they have the right lenses (despite the added bandwidth and storage necessary for this etc).

In this respect, I think an extremely helpful feature on the FF35 cameras will be the ability of the viewfinder and the LCD monitor (and other monitoring devices) to display a 16:9 (or 1.85) center extraction of the 3:2 sensor image, despite the camera shooting full sensor. Especially since most monitoring devices are 16:9. Of course, the user will have the ability to monitor the entire 3:2 image (it will probably have black bars left and right on the widescreen LCD) if he so wishes - but since the top and bottom of the picture will be cut anyway, this approach makes a lot of sense.

You shoot for 16:9, you monitor 16:9 - knowing all the time that you are recording a lot of extra picture on top and at the bottom of what you're seeing, which you can use later in post anytime you need to reframe.

I think it makes a lot of sense. What do you think?

[Leaf Baimbridge]

I was just assuming that there would be a variety of monitoring options like you described. It would be a handy feature for framing different aspect ratios. Seeing as it would be software related and not hardware related, it probably wouldn't be terribly difficult to implement (if it isn't already).

[Brad Hawkins]

How would this be any different than what the Red One currently offers?

[George A.]

Hi Brad,

I believe you didn't read my post carefully. RED ONE has a 16:9 aspect ratio sensor in the first place. I am talking about shooting with the future FF35 sensor which has a 3:2 aspect ratio.

For the people who will be shooting full sensor 3:2 aspect ratio but know they will be finishing in 16:9 (cropping), I am proposing a way to monitor only the center 16:9 portion of the image (your most probable final composition). If down the road you need to reframe, just move the 3:2 image up and down until you achieve the desired composition.

This can also be implemented in RedAlert, REDCINE etc so you mostly deal with the 16:9 extract in post-production. 90% of all shots will preserve the initial on-set composition anyway. Reframing (therefore dealing with the full 3:2 images) would be done only on select shots.

[David Mullen ASC]

Hi!


In this respect, I think an extremely helpful feature on the FF35 cameras will be the ability of the viewfinder and the LCD monitor (and other monitoring devices) to display a 16:9 (or 1.85) center extraction of the 3:2 sensor image, despite the camera shooting full sensor. Especially since most monitoring devices are 16:9. Of course, the user will have the ability to monitor the entire 3:2 image (it will probably have black bars left and right on the widescreen LCD) if he so wishes - but since the top and bottom of the picture will be cut anyway, this approach makes a lot of sense.

You shoot for 16:9, you monitor 16:9 - knowing all the time that you are recording a lot of extra picture on top and at the bottom of what you're seeing, which you can use later in post anytime you need to reframe.

I think it makes a lot of sense. What do you think?

I think this negates one of the best reasons to use a RED camera over other video cameras: lookaround area, just like in a film camera viewfinder and video tap. You have the monitor show the full sensor image with overlaid framelines showing the composition area. This way you can see any mics coming near the frame, see objects about to enter the frame, etc.

And if you honestly don't want to see the lookaround area, there is always the high-tech solution of black paper tape...

Now I admit that there may be three frames to consider: full sensor, area being recorded (let's say, 16x9) and an area inside that recorded area, let's say, 1.85 or 2.40 theatrical.

Of course, sending only a 16x9 area of the 3:2 sensor to fill a 16x9 monitor should be an option with the camera, and it probably will.

[Esteban Sosnitsky]

Lookaround area is mandatory. Just finished a feature in which you had to have this tool, boom entering in frame all the time, handheld cameraman had at least a guide on where to move, etc...

[George A.]

I see your point David.

However, black tape on a 4:3 image displayed within a 16:9 area (therefore with additional left and right black bars besides the top and bottom masking black tape) will leave a ridiculously small image to monitor in the center of the LCD.

Of course, like you suggest, if the option is implemented, the camera can show the 16:9 center extract with look around area.

[Brad Hawkins]

Ok, now I understand. I thought that I read your original post carefully (twice), but I was interpreting it to mean framing guides.