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  1. #71  
    Senior Member Paul Russell's Avatar
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    Quote Originally Posted by PatrickFaith View Post
    This is way off topic ... not that this whole thread is off topic ... but here's a great explanation of lighting theory the Academy is doing ... on the link http://www.oscars.org/science-techno...ssl/index.html ... if you click on the movie which is on the right side "Emulsion and Color" ..
    thanks, Patrick, very interesting stuff
     

  2. #72  
    Senior Member Jarek Zabczynski's Avatar
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    Quote Originally Posted by jorge krausch View Post
    i dont want to sound like a crazy guy.. but a deep part of me believes a future with lighting-free filmmaking. A sensor as sensitive as the human eye. Using real available light.. after all, isnt lighting basically a way to try to make an image equivalent of what the human eye sees? Lighting in the future i think will just be for artistic expression, to make images differ to what a person sees day to day. because the sensor will no longer need it. just a crazy theory
    I hope not. I just bought $10k more in lights a couple months ago.
    Shoot for the Impossible...Then do it.

    Jarek Zabczynski
    Director / Editor / Cinematographer


    Weapon 8K | www.jarek.com | WE'LL BE ALRIGHT (Music Video) | BAJO EL SOL (Music Video)
     

  3. #73  
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    I don't think Jorge is crazy and I've had the same fears for a while myself. It's a natural extrapolation of the pace of current camera development, and the reasoning behind current trends like 3D and 48fps. A future of 'naturalistic' cinema is certainly possible, but it won't be DOPs driving it. At the point where camera sensors are able to react to light in the same way as the human eye, I can see why many directors will want to shoot that way for reasons of authenticity and placing the audience in what feels like a very real scenario.

    I hope not though because at that point most of us will be out of a job.
     

  4. #74  
    Senior Member Carey Lee Coffey's Avatar
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    Quote Originally Posted by Chris Sharman View Post
    I don't think Jorge is crazy and I've had the same fears for a while myself. It's a natural extrapolation of the pace of current camera development, and the reasoning behind current trends like 3D and 48fps. A future of 'naturalistic' cinema is certainly possible, but it won't be DOPs driving it. At the point where camera sensors are able to react to light in the same way as the human eye, I can see why many directors will want to shoot that way for reasons of authenticity and placing the audience in what feels like a very real scenario.

    I hope not though because at that point most of us will be out of a job.

    + 1
     

  5. #75  
    Senior Member Karim D. Ghantous's Avatar
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    Quote Originally Posted by Michael Dalton View Post
    So if it is true that the 5d is better in low light, who the F* cares when the image it produces is crap.
    It isn't even a 720-line video camera. I appreciate why Phil likes it - it's a cheap form of VistaVision. I really do understand that. But as a movie camera it's a virtual train-wreck.

    But for those who want to shoot movies with a cheap camera, the APS-C DSLRs are better cameras for that... Oh, but wait, I forgot, they don't have razor-thin DOF, therefore they don't have the 'cinematic look'. ZOMG! Oh, sorry, what was I thinking? I will do penance and wear a cilice for a week.
     

  6. #76  
    Senior Member Dominik Muench's Avatar
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    are people seriously debating about these things, as in proper filmmakers that have experience with both systems ???
    comparing a 5D to an Epic is about as pointless as comparing an aston martin to a hot air balloon. yes the balloon flies...but the aston martin gets you laid and comes in metallic green.

    I understand that it its more a matter of budget and affordability for most, but lets be serious...would anyone in their right mind ever choose a 5D over an epic ? you cant judged a whole camera system on one little technicality where it might excel over the other.

    the power switch on my old Arri SRII was easier to flick than the one on my RED ONE...does that make the Arri superior ?

    I almost feel sorry for people who can spend hours writing up pages upon pages with technical discussions about such things, desperately trying to defend one thing over another by clinging to details no-one in the real world wastes a second thought on....or has anyone here in this forum had some serous issues with the performance of their EPICS and thought...."DAMN...should have bought a 5D instead" ??? ...seriously...lets spend the time shooting instead and having fun and gaining practical experience with the cameras we love.

    as long as you know what you can and cannot get out of ANY camera system, youre safe.

    on that note....Happy New Year Red Peeps !
    Dr. Dominik Münch D.O.C.A
    Filmmaker & Cinematographer
    Epic-W "Lucy"
    http://www.blacksun-productions.com
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  7. #77  
    Senior Member Karim D. Ghantous's Avatar
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    Quote Originally Posted by Dominik Muench View Post
    yes the balloon flies...but the aston martin gets you laid and comes in metallic green.
    LOL. Plus one, baby. Plus one.

    Oh, and happy new year to you, too!

    P.S. Is the inverse true? That is, when I next get laid, will I get a metallic green Aston Martin? Perhaps some research is necessary to gather more data to better understand this hypothesis.
     

  8. #78  
    Senior Member Dominik Muench's Avatar
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    I'm not sure...still working on the financing for the Aston....In the meantime I hope the Epic with a set of nice Cooke S4's will get the ladies attention....if stage 3 is kicking in soon that is *cough cough
    Dr. Dominik Münch D.O.C.A
    Filmmaker & Cinematographer
    Epic-W "Lucy"
    http://www.blacksun-productions.com
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  9. #79  
    I, for one, would like to know the post processing used on that cell phone shot. That looks a whole lot cleaner than anything I've ever been able to achieve at even 2400. There has to be some magic involved in there somewhere.

    Stephen
    Scarlet Dragon with Canon, Sigma, and Tokina lenses and the Optitron 2 wireless focus system
    First feature film, Works in Progress, out on DVD (Vanguard Cinema) and online.
    Second feature film, the miniseries Terminal, currently available on Amazon: https://www.amazon.com/dp/B07R8RQ488
    Third feature film, The Tree, currently available on Amazon: https://www.amazon.com/dp/B07JJ179RP
    Fourth feature film, The Land, currently under review at film festivals around the world.
     

  10. #80  
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    Mark Toia posted a low light test for the Epic. This test shows just how much information can be pulled from the shadows without the images being too grainy. I would think it would be impossible for a 5d, or an other camera, to do this and still have usable footage.
    Here is the link:
    http://vimeo.com/24495392
     

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