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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 :)

#4K4ALL

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Björn Benckert said:
Question: As the sensor is about half width of FF I´m thinking it must be possible to speed boost x2 for FF lenses which would make it not only look really cool with FF glas but also make it really light sensitive. Or is the flange distance to far on EF to speed boost EF glas, would love to see a Metabones EF to EF speedbooster but possibly that is not possible, or?
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Not possible. There needs to be some good amount of space and with ef to ef there is none. ;) Maybe RED surprises us with a ef-m mount, that could work.

Otherwise it's hoping for a speedbooster that adapts MF glass to EF. That would be great on a 5dsr too.;)

BTW fotodiox makes behind-the-lens ND adaptors for MF on EF.
 
The flange seems too deep for a M4/3 mount. If what we saw in the pictures is an EF mount, you can be sure that M4/3 is impossible. But nothing has told us that it's only 1 EF model. You could have a Nikon mount model and a PL mount model. Just won't be able to interchange...
And it drives me crazy this talk about close to 2x crop factor. The standard for motion picture cameras is Super 35, not full frame! quit comparing it to full frame! if you want to talk crop factor, compare it to Super 35.
Raven does have a crop factor compared to Super 35, but it's not 2x. Anyone has the right number?
 
Good points Daniel. It is a bit misleading to use FF35 as the crop factor reference for motion work where S35 is the most common format.

In any case, there is a benefit to a bit smaller target - more DOF for run and gun, doc, etc.

From my personal perspective, I like having options - Raven for some situations, Weapon 8K for others - while still maintaining a cohesive workflow and, virtue of the same underlying Dragon tech, matching color should be trivial. Sweet.

Cheers - #19
 
Daredevil was shot on Dragon in 4K and looked pretty freakin' sweet, so I think for the price of Raven 4K will do just fine.

Most of my work is documentary based for which I've loved my Scarlet over the last 3 years. One of the most exciting things for me is that this is Red's lightest ever camera, so assuming they'll release a side handle, the Raven would be amazing for the work I do.
 
The crop factor thing is not as ridiculous as sit seems, Cinema is also about look and depth of field, and this 2x crop factor kind of kill it considerably..

What do you guys think? Can a M43 mount be possible or is it just a fantasy that we can only dream of?

Red is pretty good at making "phantasms" reality, so Jarred, can you Tell Santa claus that we need one last thing please..

#SpeedBoosterPossibility
 
The lack of lowlight ability would be a bottleneck as compared to C300.
Scott Brown said:
What I'd love Raven to be in a nutshell is a C300 with a RED brain and raw output. I agree built in ND's are perhaps not a perfect solution optically BUT they're used on virtually every broadcast tv camera for good reason.

For filming docs, I'll always take simplicity & ease of use over a camera that may be optically superior but is technically challenging in the field. In the moment I need a camera that helps me get what I need - this was the reason we sold our Epic. It was just the wrong camera for filming ob docs. Hoping Raven may be a solution though!

We need long battery life and efficient codecs that can record on affordable media.

Scott
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Daniel Pearson said:
Daredevil was shot on Dragon in 4K and looked pretty freakin' sweet, so I think for the price of Raven 4K will do just fine.
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Daredevil is super grainy though. It's difficult to judge it as we don't know how much was added in post.
 
Does RED manufacture different olpf's for different resolutions? I assume the reason most dragon op's avoid shooting high speed in 4k is that the olpf is optimized for 6k, which results in a softer image. Am I missing something?
 
Bob Gundu said:
For all those wanting M43 mount because of crop factor... The mount has nothing to do with it. The sensor size won't change.
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Perhaps it is more to do with availability of fast and wide lenses from Voigtlander and SLR Magic and the availability of speedboosters (changing the perceived crop factor).
 
Sabyasachi Patra said:
The lack of lowlight ability would be a bottleneck as compared to C300.
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The C300 uses in-camera hardware noise reduction and sharpening tied to ISO settings on the camera. When you push the C300 to lower light with higher ISO - you loose significant detail.

I hardly see the "low light ability" of the C300 that comes with a MUCH bigger quality hit than a SONY A7RII as a "bottleneck" ....

But ... I do think it would interesting if RED actually could focus the optimization of the Dragon sensor for the RAVEN for higher sensitivity like the Varicam 35 does - SUCKS as low ISOs - but is GREAT at higher ISOs. That trade off might be just fine for the bigger part of RAVEN marketshare ... just a thought. Most likely, not worth the trade-offs.
 
Leo Sylvester said:
Does RED manufacture different olpf's for different resolutions? I assume the reason most dragon op's avoid shooting high speed in 4k is that the olpf is optimized for 6k, which results in a softer image. Am I missing something?
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No, you're putting a very pertinent question.

E :-)
 
Leo Sylvester said:
Does RED manufacture different olpf's for different resolutions? I assume the reason most dragon op's avoid shooting high speed in 4k is that the olpf is optimized for 6k, which results in a softer image. Am I missing something?
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No you are not missing anything.

And since RED has swappable OLPF's - that RED should take advantage of IMO.
 
Leo Sylvester said:
Does RED manufacture different olpf's for different resolutions? I assume the reason most dragon op's avoid shooting high speed in 4k is that the olpf is optimized for 6k, which results in a softer image. Am I missing something?
Click to expand...

No. Keep in mind OLPF design, at least "proper" OLPF design, is optimized for the pixel pitch and even the micro lenses at the crystal level. There's certainly room for creative effects and softening properties for those who desire it, but at a technical level RED's official OLPF designs are about getting the highest quality image.
 
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