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 :)
I've been out of town filming until recently, but RED/Nikon sponsored numerous events here in LA and a bit abroad. Actually a fairly big shift in that aspect from what I can see.
I will mid-Nov when this production wraps. Can't actually do it live on this particular shoot.
BUT. Top LCD Horizon = a feature request and a great addition!
Video Overlay features also really good. Playback to Camera Webpage is truly epic.
T-Stop Iris Display, small thing, but good thing.
Or better yet, have all cameras feature a Low Pass Filter installed or not as that would be a more useful test. The production cameras do have filters installed btw as can be seen by the results.
I have lots of thoughts, theories, and more. But I'll keep it semi-vague for the purpose of discussion as I've shared my wants and desires a lot to RED.
What RED and Nikon should do if creating a higher resolution and/or larger format size is still adhere to the DCI 1.9:1/17:9 aspect ratio as...
The optical reasons for the variance comes down to aperture and focus distance as well as focal length/lens design. Smaller aperture with a point source like the sun, particularly focused further away and likely also enhanced by a wider angle optic will create the most chaos. Wider open, with...
Likely two fold.
1. Potentially a hardware/software relationship for the dedicated modes/image pipelines as in dedicated ProRes mode their are additional codecs and encodes.
2. Prevent user error when choosing one mode or another.
I support SDR and HDR via philmColor and that overall workflow.
And for now, an expanded workflow is using a transform into philmColor and applying the RWG/Log3G10 variants through that workflow.
Likely will be tackling more of this down the line. But this is the first small steps of...
I haven't published my last 9 camera tests, mainly due to time. I don't wrap production until late November and will be in post after that for a few months. The new Cine 12K and 17K I'll test more closely after wrap, but I also currently have footage from the Cine 12K I was tinkering with prior...
There's several potential answers why the one Z8 shots looks better than the rest, but that should be the only shot that is ideally worth comparing.
I've tested both cameras extensively, in particular, with the same lenses. This isn't indicative of expected results.
I'd hold off until somebody actually tests coverage. Sigma Cine for instance we also 43.27mm image circle, but they all cover 46.31mm with no issues and good performance to the edge of frame. That 43.2mm is boiler plate spec for 135mm/FF coverage.
Very doable and there are currently LPL Lens to Z-Mount Body adapters from C7Adapters, Simmod, Fotodiox, etc.
No issues with any currentl lenses I know of as well.
Man who films in a fair bit of vehicles here. In the original edit there was one very specific activity that people have died doing in recent history. That was the bit that was edited out and likely the eyebrow raising bit that people found disturbing.
Inside the vehicle, you likely don't...
You would have to create the log file via the camera. I agree it's likely not media nor power related, but....
Various brands of Media and Power are often culprits of strange happenings in all modern cameras. I own a lot of them and have seen some of the worst possibilities. It's a rarely...
Very interesting and not something I have seen off of Raptor X yet.
I'd send these exact frames to RED, with a log file off the caemra. I'll second the question about the last time Sensor Calibration was run. I thought it's a uniformity issue, but this wouldn't manifest in this way and there...