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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

EPIC is a Dream to Configure!

KETCH ROSSI said:
We used the Hoodman H-R 5.6 same as the one used on the Standard Red 5.6" LCD, it fits like a glove ;)

Btw... 5k Run N' Gun Set up of the Day ;)

Run'-Gun.jpg
Run-n'-Gun2.jpg
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How can you run & gun with 35mm DOF and no follow focus... I know you can just use your hand but focus is a major issue and its not like a 3/4" camera and you and your client would get pretty bored of out of focus shots pretty quickly
 
roryhinds said:
How can you run & gun with 35mm DOF and no follow focus... I know you can just use your hand but focus is a major issue and its not like a 3/4" camera and you and your client would get pretty bored of out of focus shots pretty quickly
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Run n' Gun is a figure os peach here, since I can't Run ;(
 
roryhinds said:
How can you run & gun with 35mm DOF and no follow focus... I know you can just use your hand but focus is a major issue and its not like a 3/4" camera and you and your client would get pretty bored of out of focus shots pretty quickly
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I plan on using Canon EOS mount lenses for the most part and hoping the auto focus will assist in those situations. That and stopping down for increased DoF.

Also, I really see the value in the RED SuperGrip... please!
 
I just think the whole concept of "run&gun" with 35mm DOF cameras is insane and extremely frustrating to work with both in shooting the footage and editing it.

I think HD 3/4" cameras have there place and that is "Run&Gun"
You'll have far more usable footage shooting with more DOF even if you intend to stop a lens down on 35mm.

Its deceptive looking at 35mm cameras (Digital or Film) with no FF on as its like having no steering wheel on a sports car (well maybe not that extreme but you get the point)

Sure you can have a play with a camera that way but to actually work with it where the footage have value other than just experimentation, you need to control the focus.

I don't think Auto focus will be as useful for motion as it is for stills, just a completely different medium
 
Roberto Lequeux said:
Rory, we are in luck then because we will be able to select just about any sensor area and aspect with Epic. :)
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This is a really important note for anyone who needs flexibility in deployment. FWIW I have done a lot of focusing on the barrel by eye and there are many "tricks" to managing it, not least of which is using wide angle lenses or the wide end of a zoom and getting closer to your subject. In the right circumstances I would put the Duclos/Tokina 11-16mm zoom on, take the rez to 3K and I'll wager my in focus percentage would be similar to what it was shooting 2/3" ENG...

Another note for all of you geeked up for FF35 Monstros vs S35 MX is the issue of focus. Ask someone who has pulled on a 5D vs a 7D at T2.8 or less :ohmy: YMMV.

Cheers - #19
 
roryhinds said:
How can you run & gun with 35mm DOF and no follow focus... I know you can just use your hand but focus is a major issue and its not like a 3/4" camera and you and your client would get pretty bored of out of focus shots pretty quickly
Click to expand...

Hmmm...I've been shooting 4k run and gun with Red One cameras since August 30, 2007 when I received my first Red camera - and now I've just spent four days doing the same run and gun with Epic M8 in 5k - and somehow now its "impossible"?

Am I unique in that? Heck no. Red One has been used widely in non-hardlined EFP production, which numerically is the most common style of production on the planet - dwarfing the number of cine style productions each year. Being smaller than Red One, and with extensive EFP-friendly features, Epic will be used even more widely in EFP style production. Almost without exception in EFP style production the shooter does his/own focusing and exposing of the camera - no AC, no focus puller, no follow focus - simply by racking the lens barrel on the fly.

Are we talking wide open aperture, as with focusing by an AC for narrative cinema? No - that would be cine style production. Run and gun EFP production (including documentaries) with Red One (and Epic) have been, and will continue to be done using lightweight 35mm still zooms, usually at apertures between f4 and f11. At those apertures eye focusing on the fly by operator is quite easily achievable by practiced and experienced EFP shooters - in 3k, 4k, and now 5k. Thousands of us EFP shooters have been doing it with Red One - and now I've been doing it with Epic in 5k.

Depth of field at apertures for run and gun in 4k and 5k is very manageable at apertures between f4 and f11. There is a big difference between anticipatory eye focusing and reactionary eye focusing. Experienced EFP shooters, used to focusing by themselves, track action with anticipation, rather than reacting to each movement of the subject matter. The more shallow the DOF the more anticipatory focusing comes into play.

As examples, in the recent 10-red camera production of the band Journey in concert in Manila for with I was a DP, and the 6-Red camera production of the band Heart in concert in Seattle, for which I was a DP, both of those productions were shot in 4k - and absolutely none of those cameras was shot cine style with an AC or focus puller. All of the cameras were focused EFP style - eye focused on the fly personally by each shooter. Guess what - we hired shooters who had EFP experience, who we knew could focus their own camera on the fly, and each of them pulled it off easily. Beyond being DP for those productions, I also shot shoulder held right in front of the stage on one side, while Blair Paulsen shot shoulder held right in front of the other side of the stage - with both of us racking focus continually and manually for almost three hours straight - and it was all in focus - and thats about as "run and gun" as you can get in 4k. I'm the one who brought Blair onto those crews - because I knew he had the EFP skill sets to pull off what we needed - and he delivered as I knew he would.

I realize its hard for cine style shooters who do a lot of narrative cinema to get their heads around the idea that there is a whole another way of approaching the use of Red One and Epic. But the fact is that a huge percentage of Red One and soon-to-be Epic users do, or will do their own exposing and focusing of the cameras successfully - and without blowing the focus.

Looking forward, it gets even easier for run and gun shooters with Epic. When the Canon, Nikon, and Red electronic mounts are ready, each will then give mobile shooters the option to focus manually by themselves, or in certain situation where it is advantageous, to go with auto focus. Don't sell auto focus short. No, it will almost never (if ever) be used in cine style production scenarios, but it will be used regularly for certain shots in EFP style production with Epic.

Horses for courses. These arguments about someone supposedly not being able to run and gun with s35 mm cameras in 4k have long since been disproved by thousands of us mobile EFP shooters of Red One cameras - and as of last week I shot run and gun in 5k with Epic - but somehow that's impossible? Not so...it has now been done, and will be done extensively by EFP shooters of Epic looking forward. If someone can't run and gun eye focus a camera on their own, that doesn't mean nobody else can't - it just means the person who can't do it either hasn't developed the skill sets to do it, works in a style of shooting or crew composition where it simply isn't traditional to shoot that way, or needs to shoot constantly wide open for extremely shallow DOF - which is representative of certain genres of production, but certainly not the rest of the overall production industry and market for Red One and Epic.
 
Steve Gibby said:
These arguments about someone supposedly not being able to run and gun with s35 mm cameras in 4k have long since been disproved by thousands of us mobile EFP shooters of Red One cameras - and as of last week I shot run and gun in 5k with Epic - but somehow that's impossible? Not so...it has now been done, and will be done extensively by EFP shooters of Epic looking forward.
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Thank you Steve.

And bring on the SuperGrip...!
 
not least of which is using wide angle lenses or the wide end of a zoom and getting closer to your subject.
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Are we still at the point where people don't understand that this is wrong? Image magnification and F-stop. 25mm and a 50mm have the exact same DOF at the same stop at the image magnification (i.e. one is closer, and one is farther away to have the same frame).

arrrg.
 
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