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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 :)

Arri 65mm digital camera

scott devitte said:
It kept Panavision at the top of the game for a long time.
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Exactly. Same reason Red won't compete with the lower end cameras from Sony, Canon, Panasonic. Boutique operations and Veblen goods.
 
If I was to prioritise my ambitions for Red it would be:

Offer a paid upgrade to Dragon to get the frame rates up!... I'd like a HS dragon not a cheap Phantom.

This I accpet may need a new body...

Double the frame rates across all the frame sizes and blow the f55, Alexa, f65 away.... leave the really HS stuff to the specialist comapnies...

Then using the same bandwidth advance offer a tru VistaVision camera!! Perhaps with bigger photo sites to allow us to shot bigger stops when needed..

Cine style lenses exsist for Vista vision BUT do not exsist for larger formats so Red can sell allot of cameras... which is needed to have Red style pricing.

regards

Michael
 
I am hoping the heh,hehs means fullframe or vistavision. Going Hasselblad or larger means heavy, slower lenses and a lot more support weight. I was with Ming Thein in Havana where he showed ultra prints shot with Zeiss Otus and Nikon d800 36megapixel. They were incredibly detailed. It was as rich as the best oil painting. It seems that Red sensor full frame or Vista vision would be at least 36 megapixel. I mean that will get us to an incredible place, with lenses and support gear we already have.
 
scott devitte said:
I am hoping the heh,hehs means fullframe or vistavision. Going Hasselblad or larger means heavy, slower lenses and a lot more support weight.
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Did you bother to read the brochure? Check out this chart:

faq_01_lensrange_prime65_zoom65.png


Most of these are 1/2kg lighter than Master Prime equivalents. True, they are slower, and true they would be very heavy if realized with T1.3 apertures. But the fact is that the lenses they are offering are surprisingly not-heavy.
 
Michael Lindsay said:
If I was to prioritise my ambitions for Red it would be: Offer a paid upgrade to Dragon to get the frame rates up!... I'd like a HS dragon not a cheap Phantom.
Click to expand...

That's exactly what we are looking for -- not a one trick Phantom pony, but an Epic that does both HS and all what it currently does.

-- peer
 
Would Zeiss-Hasselblad CF Primes be the right lenses for the $$ at the moment for "Medium Cine Format"?
or Pentax 67, Mamyia, Schneider and how about old Zeiss Jena Biometar Zebra??
 
Michael Tiemann said:
Did you bother to read the brochure? Check out this chart:

faq_01_lensrange_prime65_zoom65.png


Most of these are 1/2kg lighter than Master Prime equivalents. True, they are slower, and true they would be very heavy if realized with T1.3 apertures. But the fact is that the lenses they are offering are surprisingly not-heavy.
Click to expand...

I did read the brochure. But realistically these are lenses that we will never own. People on this thread are talking about buying into legacy lenses that are heavy and slow. And are nowhere near Otus quality. I am really hoping that we can stay with the existing form factor. Red Vistavision on Helix with Foolcontrol/Hotlink and Zeiss Otus? Dudes That is Heaven!
 
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Most of this lenses are relatively slow. I wonder how working at around T 3,5 on this sensor compares to putting a 1.3 master prime in terms of not only depth of field, but also MTF and sharpness.


Also, I wonder if it's not possible to come up with an optical reducer similar to the speed booster (that could be used as a interchangeable mount on the Epic), to use the still version of those lens with Red Cameras.
 
Brice Ansel said:
So, to use this 10,5 Kg tool, you need to rent to a specific place, and use one specific brand of glasses only?

Sounds a bit elitist to me by reading their brochure
http://arrirentalgroup.com/alexa65/
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Not quite sure how this is elitist. They have chosen a path they feel will best suit the customer base that will use this system, namely larger projects that need a high level of support.
 
I have a Mamiya. I just can't find much of a reason to shoot medium format these days. FF35 Glass at F1.3 has a swallower depth of field than pretty much any medium format glass.

I still want a ff35 epic though. VFX and Vistavision/FF35 have a long and glorious history it was mostly for grain size before but now it's for noise and resolution. I opened a savings account almost a decade ago for a FF35 scarlet: 6k, 30fps, 16 stops DnR and less than $10k. I like 'heh heh heh', but it costs $30k to get those specs in S35. I can't imagine what Brain inflation will put a FF35 RED at these days but it's definitely rental house levels.
 
I imagine Dec 1st may very well see changes in the MX pricing, not just Dragon...who knows...But one day I am sure they will do a BT scarlet sale kind of like when they got rid of all the Red Ones...

Whether Red goes full 65mm or not, at least you can buy the actual product...There is always that..
 
Brian Merlen said:
I imagine Dec 1st may very well see changes in the MX pricing, not just Dragon...who knows...But one day I am sure they will do a BT scarlet sale kind of like when they got rid of all the Red Ones... Whether Red goes full 65mm or not, at least you can buy the actual product...There is always that..
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In the days that Panavision was king and you could only rent those cameras, there were always filmmakers that preferred to own cameras rather than rent them. I think there are advantages and disadvantages either way. But at least in the film days, you'd know that 10 years later, you could have a technician do some minor tweaks and the thing would still work. If you bought an F35 for $150,000 ten years ago, good luck finding parts for that today. Digital cameras tend to slump in value far faster. If you're just renting on an "as-needed" basis, you don't have to worry about obsolescence or maintenance.

I think the Alexa 65 is more a "statement" project, saying, "we can build this if you really want it." I think in truth, not even 1 out of 100 Hollywood productions will use it, but there will always be the Chris Nolans, the Finchers, the Scorseses, maybe even the Tarantinos who will want the extra mile and go for it. The fact that Arri thought this through and came out with so many 65mm lenses and also have a simultaneous ProRes capture for editing (in addition to Arriraw) is really impressive. But 2.6TB per hour of Arriraw material is going to make D.I.T.'s heads explode...
 
I think Paul Thomas Anderson's The Master is one of the most breathtaking films I've ever seen, the image just drips beauty. Entirely shot on 65mm. This should be a really exciting camera.
 
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