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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 :)

1st 24 hours with an Epic

Gunleik Groven said:
Just a tease...

607856_1280x1024.jpg
Click to expand...

We all feel like that when our shoes get wet!!!

LOL :)
 
So...

I'll probably not get around to update this thread until next week.
Some private life hitting in.

But while you waut, identify with her... :)

608007_1280x1024.jpg



(this is just a grab from the FCP prores LT viewer, BTW)

Cheers

G
 
OK

This may seem like a shameless bump, but I've had so many offlist questions and misunderstandings about this clip, that I think I should clear up a few things as to why I think this is a nice little test:

http://www.youtube.com/watch?v=8NbSXszBBN0


This was lit with 8x 3KW Phillips tungsten lights, mostly fired off from behind the actors.
In addition I used 3 650 W ARRI fresnells again directly into the lens to ake flares and overexposure.

In most of the shots there is NO DIRECT FRONTAL LIGHTS WHATSOVER

All is tungsten

And the piece is still not graded, just group of images ballparking in RCX to prores 444 -> h264 -> youtube
No HDRx involved at all in this shoot
All but the last shot at 50 fps over 23,98

Why do I think this is informative?

1. Look at how the highlights roll out
2. Look at how the lowlights roll out
3. Look at how the skintones are alive all the way from barely visible to blown out
4. look how smooth the motions are
5. gradients all over

Imagine shooting this with ANY other digital cinema camera and what the highlights and lowlights would look at

Look at your receipe for your stage 2 deposit

Put a big smile on your face


THAT is the important things to look at for this shoot.

Cheers!

G
 
Thanks, but it also shows off some of the stuff you can do with the Epic exposure-wise, which I only know that Film can handle, besides the Epic


...
 
Workin' on it...

(BTW it's shot through a dirty plastic window, if you wonder about the sharpness... :-)
 

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So I've been shooting a couple of 10-hours days on a "real" production side-by-side with R1-MX.

I don't think I'll be at liberty to post images. Which is kinda unfortunate as I think that would be interesting....


But I think that I stand by my thoughts on matching different cameras.

R1M + MX = Good
R1 MX + Alexa = Good
R1 MX + Epic = difficult issue.
They won´t match on set if you want a good match in post.
And that's not only due to gamma and compression issues.

But they can match quite ok, if you go for and shoot for the premises of R1NX...
 
Gunleik Groven said:
So I've been shooting a couple of 10-hours days on a "real" production side-by-side with R1-MX.

I don't think I'll be at liberty to post images. Which is kinda unfortunate as I think that would be interesting....


But I think that I stand by my thoughts on matching different cameras.

R1M + MX = Good
R1 MX + Alexa = Good
R1 MX + Epic = difficult issue.
They won´t match on set if you want a good match in post.
And that's not only due to gamma and compression issues.

But they can match quite ok, if you go for and shoot for the premises of R1NX...
Click to expand...

Hi Gunleik,

Thanks for sharing, both you impressions and images. Can you develop a bit why you think it is difficult to mix R1-MX and Epic. I find that very odd as they use the same sensor, as long as you're not doing HDR-X.

Cheers,
Damien
 
I can...

But I have decided against posting examples and elaborating too much on that for a little while, as I fear I might just steer a pot...
Just want the message to test a relevant setting before you shoot out for people who are contemplating this.

I'd rather say in which situation they DO match well:
Controlled light with not too much DR in the image, like a standard studio-setting where you can expose for the R1MXs sweetspot.

They share the silicone, but everything from there out (from AD) is different.

The Epic looks very different from R1MX towards the extremes of the exposurerange.

And think of it: It should be...
That's why we all want Epics, right?

But:
Do tests all the way into online, light from what you learn and it is doable.
They won't match very well on set anyway because of gamma etc, but that's much less of an issue...
 
Now just use THAT music:

http://www.youtube.com/watch?v=aQVz6vuNq7s

Looks great

Gunleik Groven said:
OK

This may seem like a shameless bump, but I've had so many offlist questions and misunderstandings about this clip, that I think I should clear up a few things as to why I think this is a nice little test:

http://www.youtube.com/watch?v=8NbSXszBBN0


This was lit with 8x 3KW Phillips tungsten lights, mostly fired off from behind the actors.
In addition I used 3 650 W ARRI fresnells again directly into the lens to ake flares and overexposure.

In most of the shots there is NO DIRECT FRONTAL LIGHTS WHATSOVER

All is tungsten

And the piece is still not graded, just group of images ballparking in RCX to prores 444 -> h264 -> youtube
No HDRx involved at all in this shoot
All but the last shot at 50 fps over 23,98

Why do I think this is informative?

1. Look at how the highlights roll out
2. Look at how the lowlights roll out
3. Look at how the skintones are alive all the way from barely visible to blown out
4. look how smooth the motions are
5. gradients all over

Imagine shooting this with ANY other digital cinema camera and what the highlights and lowlights would look at

Look at your receipe for your stage 2 deposit

Put a big smile on your face


THAT is the important things to look at for this shoot.

Cheers!

G
Click to expand...
 
Could you please make photo how you connect Epic-X to power?
Is it DNSC side module and Redvolte or something else?
 
At the power question

We use V-mounts, globalmediapro and use this cable from the old to the new sized lemos.

http://www.red.com/store/cables/product/2b-to-1b-lemo-power-adaptor-cable


As to the music...
The piece will probably be re-cut with new music...

As to the updaating of this thread...

It will come when time allows

Today we shot the first "real" material.

Everything worked well.
10 months of photography starts on Monday.

I still work on the vfx, online and conform side of things.

We have some quite cool rigs... I will try to upload some images later today.

930 is on its way my way.

Maybe I should start a new thread when that arrives...


Cheers


G
 
OK.

I'll shamelessly bump this thread for all you scarlet-x guys who wonder why you really want the cam at hand over the 2/3" for photographic reasons.

There are a few images in here I don't know how I would have done with any other digital cinema camera around...

Cheers!

Gunleik
 
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