Cook Anamorphic Lenses & Red S8K Helium Camera

[Humberto Rivera]

Well, here is Plan “B” after apparently Plan “A” was rejected by Red, at least it seems that way to me. Buy a “RED WEAPON Helium 8K S35 Carbon Fiber Cameras” and then Up-Grade to whatever the next Camera might be ready; “if and when” the times comes to a RED WEAPON Helium 12K VV camera version “if and when” it comes out. Use the Cooke Anamorphic, or whatever other lenses fits the Camera with room to spare.

Meanwhile continue to use the Cooke Anamorphic Lenses with the 8K S35 Camera and just cut-off the ends out of the 8192 X 4320 Image Sensor. I suppose when the ends that are “cut off” you can possibly use them for a subsequent 3D conversion, or an IMAX theaters use. The Image on the Helium Vista Vision Camera “if” that is on the Red Digital Cinema Plans would definitely be larger and would fit within the Image Circle of the Camera, whatever it would be on the Cooke Anamorphic Lenses.

If the Helium Sensor it’s everything that we have seen in the Mark Toia Short, why would we not have a Helium Vista Vision Sensor NEXT with better resolution, and a new REDWideGamutRGBLog3G10 + Transform LUT being worked on by Red’s resident Genius, Graeme Nattress, and Goran Ljubuncic it would certainly make a lot of sense to-do-this. Just my two-cents. I think as “time goes-on” we will see the “K’s” continue to grow in size, color quality significantly will be consistently improved to a new level, Lenses will continue to add contrast, and computer power continue to get faster and faster, it’s just the way of the World.

I’ll be 75 Years Old this December, I’m in good health relatively speaking (knock on wood), I’ve seen much in the World trough different eyes, different circumstances, in different place around the World. Once you think that technology would not improve to ridiculous new highs, it-does, so it’s pretty hard for me to be impressed with anything new. We’ll see what tomorrow will bring, it will be spectacular whatever it is. It was not too long ago the “Red One” was a scam, now were talking about the Helium Sensor, what about tomorrow?

Step out of the “Now” and not imagining the look of “Tomorrow” what do you see, or is-it so foggy that you cannot see; that might tell you a lot, how you might be looking toward “Yesterday” that’s what happens when the “Future” scares you, don’t be scared to look at “Tomorrow” and “Imagine” whatever it-is”?

Humberto Rivera

 

[Björn Benckert]

Here is some Cooke ANA 8k test frames we did.

Developed in 800ISO and 12800ISO and rendered to UHD width, you do not need a microscope to see that the helium kicks, weapon, alexa and I would even say Variflex out of the water when it comes to lowlight capabilities, or?

Ignore the ugly highlights at 800iso I guess thats recolor4 that do some oddities with helium. When set to redoclor2 that is gone right away.



HELIUM_@12800ISO WITH KODAK PRINT LUT .0000000 by Björn Benckert, on Flickr

[/url]Helium 800ISO.0000000 by Björn Benckert, on Flickr[/IMG]

more iso steps here:

https://app.frame.io/d/jkShH9yt

 

[Humberto Rivera]

Björn Benckert 


Here is some Cooke ANA 8k test frames we did. 

 Developed in 800ISO and 12800ISO and rendered to UHD width, you do not need a microscope to see that the helium kicks, weapon, alexa and I would even say Variflex out of the water when it comes to lowlight capabilities, or?

 Ignore the ugly highlights at 800iso I guess thats recolor4 that do some oddities with helium. When set to redoclor2 that is gone right away.



HELIUM_@12800ISO WITH KODAK PRINT LUT .0000000 by Björn Benckert, on Flickr

 [IMG]Helium 800ISO.0000000 by Björn Benckert, on Flickr[/IMG]

 more iso steps here: 

https://app.frame.io/d/jkShH9yt

Björn I found the examples that you posted at Frame.IO https://app.frame.io/d/jkShH9yt very interesting, they definitely show us the capabilities of the Cooke Anamorphic Lenses and the Helium Camera in a night environment, and everyone should check them out, because the noise is negligible for a night scene, although some might find it slightly noisy, but not me considering that it was a night scene, Very Nice! I particularly liked the last frame short at 6800 ISO. It looks very naturally, like it was shot with the car lights, although it was probably not.

Humberto Rivera

 

[Humberto Rivera]

Here is a “Red Helium 8K Camera” set up from Christopher Probst; “Our 8K Red Weapon Helium camera set up in pseudo-Bay hem mode for this week's Croatian shoot....” https://www.facebook.com/christopher.probst.39?pnref=story

Humberto Rivera

 

[Humberto Rivera]

I imagine and that’s ONLY MY SPECULATION; that if the “Red 8K Helium Camera” that comes in “Carbon Fiber Brain” (or “Forged CF”) it might be up-gradable to a “Red 12K Helium Camera”! I’m just thinking of the Logical Conclusion to what comes next!

Then you can actually use the full frame of the “Cooke Anamorphic Lenses” which measures 28.17 mm x 18.13 mm at its fullest opening of a ø: 33.50 mm Image Circle, leaving a hole in the middle of the 12k Sensor.

The image might actually be larger than 8K possibly 9K in reality, and have a virtual image of about 12k on the Vista Vision Camera, that’s all now beyond my comprehension, so I leave it “as-is” in Wide Angle Frame Full Frame Aspect Ratio of 2:40.1 for the “Cooke Anamorphic Lenses”. It would definitely be over 8K of useable area, in the Vista Vision Up-Grade. You can still have the “Cooke Anamorphic Look” with plenty of room for anything that makes sense. Don’t forget the Virtual Resolution of the Cooke Lenses (2x), and you’re working from a frame that exceeded the “Super 35 mm Film 4-Perf Full Frame” and beyond.

Just a Thought, there is so much to be announced at NAB 2017, and there is the current REDWideGamutRGBLog3G10 + Transform LUT being worked on by Red’s Graeme Nattress! That’s something that’s going to be tweak for a while. The “Red Helium 12K Carbon Fiber Camera” MIGHT actually have a 60 mm X 30 mm coverage (or so); now that would be “real-coverage” if it happens that way.

Humberto Rivera

 

[Humberto Rivera]

"Quite Ironically my Sigma 85mm 1.4 Art Series was delivered in California within minutes of me arriving to the Sigma factory in Japan a few days ago. Was a great surprise to return home to tonight. — at Red Studios Hollywood." Jarred Land

Humberto Rivera

 

[Humberto Rivera]

“Thanks Christopher Probst for being diligent in your push to expand the StormTrooper accessories... quite the army of bits now for those select few brave ones that went the path less travelled. — at Red Studios Hollywood.” Jarred Land

https://www.facebook.com/jarred.land

Humberto Rivera

 

[Humberto Rivera]

BIRTV – Beijing (China) 2016.

Two time Oscar winning master cinematographer James Wong Howe, ASC whose career stretched from silent pictures through the mid-’70s, stated during the shoot of The Rose Tatoo directed by Daniel Mann, “Sometimes it’s not how much light you use to get an effect, it’s how little you use and still make it work. There are a lot of rules to be broken in photography, and you’ve got to have courage.”

Today, the entertainment industry is the sunrise light in China, while the steel industry is the sunset light. The growth potential for the film industry is huge, with an increase of 17% per year since 2011. The media and film industry at the end of 2016 will be worth $180 billion and next year an increase is expected, while the domestic film audience will exceed that of the U.S. in less than four years.

Today, China’s movie ticket sales is second only to the U.S. Last year’s box office revenue hit a record $6.8 billion – up 49% from 2014. That’s up from $1.5 billion a mere five years ago. According to a McKinsey report, “the Land of the sleeping Giant” is expected to see a movie cross the $500 million threshold domestically in 2016. Some Chinese movies have already come close: Monster Hunt grossed $380 million to date while Lost in Hong Kong reached more than $250 million. The record for an American film, Avatar, was $760 million on U.S. screens.

http://www.fdtimes.com/2016/11/05/birtv-china-2016/

Humberto Rivera

 

[Humberto Rivera]

This is the Cooke Anamorphic Image Circle that has an “actual” measurements of; 28.17 mm X 18.13 mm / ø: 33.50 mm Image Circle, that’s a hard mechanical number, far in excess of the Silent Cine Aperture. Think of it; as if it you had an imaginary overlay and placed it over a denser pixel site, with a “Higher Resolution”; say the Red 12k Helium Camera with a Vista Vision Format. All of sudden that 40.96 mm X 21.6 mm BECOMES a 60 mm X 30 mm Image Capture Sensor, Actual Size (at denser pixel multiple).

Now let’s go back and lay that “actual” Cooke 28.17 mm X 18.13 mm / ø: 33.50 mm Image Circle, over the richer pixel site, now you have much higher resolution that just 8K or 9K or possibly approaching a 10K sensor size in its “actuality”; and had an additional 2x in-its horizontal virtual size. That’s a crazy insane resolution in World were 4K projection is BECOMING the norm (don’t forget all the 2K projectors of the World).

You might not get to use the Full Frame Red 12K Helium Camera Sensor, but you have far exceed what the “Cooke Anamorphic Lenses” provide and can do under any circumstances, with the Red 12K Helium Camera. You have the “Cooke Look” and its wide array of lenses available to you in anamorphic arsenal, and “you can buy them all”, unlike Panavision. Of Couse if that’s what “is in the cards”; if Red has up its sleeve for NAB 2017.

Humberto Rivera

 

[Humberto Rivera]

Let me say Graeme’s explanation here and in other places put the “Helium Sensor Cameras” in a lightly different place than other Sensors based Cameras. Here is Graeme’s explanation in a simplified way! This is why I think there will be a Red 12K Helium Camera in the not too distant future; Speculation? I don’t think so!

Graeme simplified explanation; “So first, I need to disambiguate a bit... Colour Science is the colorimetry calibration that takes raw sensor data and puts it into accurate colours. That is always in place for each and every camera and OLPF combination. An image processing pipeline is the algorithms (and implementation) that uses the data from the colour science to produce an image. Current Helium camera firmware is using the existing image processing pipeline. A new image processing pipeline is in development and the Helium based cameras have the extra hardware processing necessary to run it, and this will be enabled via future firmware update. For our other cameras, the benefits of the new image processing pipeline will be available via REDCine-X (and SDK).” End Graeme Nattress simplified explanation
http://www.reduser.net/forum/showth...e-useable-in-camera-via-Firmware-Update/page2

Humberto Rivera

 

[Humberto Rivera]

Graeme Nattress; “Hi Marek, What we're working on is better than a new Helium Colour science - it's actually a whole new image processing pipeline. Colour science just gives us the magic numbers that do colorimetry calibration. An image processing pipeline applies those numbers via algorithms and processes that generate the image. The starting point of this new pipeline is REDWideGamutRGB and Log3G10, so that's the link.” End Graeme’s part of his Post on Page 24 & 25

http://www.reduser.net/forum/showth...olor-A-look-at-REDWideGamutRGB-Log3G10/page24

Let me say Graeme’s explanation here and in other places throughout this page put the “Helium Sensor Cameras” in a lightly different place than other Sensors based Cameras. Here is Graeme’s explanation in a simplified way! This is why I think there will be a Red 12K Helium Camera in the not too distant future; Speculation? I don’t think so! This is why I’ve become more assertive in my position! It’s logical.

Humberto Rivera

 

[Humberto Rivera]

"Michael Bay is a simple guy. He likes lots of explosions, frequent cutting, and keeping the audience as close to the action as humanly possible. So when digital camera company RED approached the director about designing his own promotional rig, of course it would be handheld, and of course it would be named “Bayhem”. What’s the point in being one of the world’s leading experts in cinematic destruction if you can’t have a little fun with yourself every now and then?

In a new Instagram post (via iO9), Bay showed off the use of his “Bayhem” camera on the set of Transformers: The Last Knight. Watch the video below to see plenty of explosions and stunt doubles flying through the air while Bay does his best onset Mr. Magoo impression." Look at story

http://screencrush.com/michael-bay-transformers-bayhem-camera/


Read More: Watch Michael Bay Use his ‘Bayhem’ Rig for ‘Transformers 5’ | http://screencrush.com/michael-bay-transformers-bayhem-camera/?trackback=tsmclip

Humberto Rivera

 

[Humberto Rivera]

Here are some interesting test with the Red 6K and 8K Helium Cameras.

Humberto Rivera
https://www.youtube.com/watch?v=2V1EiW52rq4

RED EPIC-W 8K Helium S35 vs RED EPIC DRAGON 6k Comparison and Testshots
https://youtu.be/2V1EiW52rq4

 

[Humberto Rivera]

I’m still trying to get my “head and hands” around the “ACTUAL” Cooke 28.17 mm X 18.13 mm / ø: 33.50 mm Image Circle, compared with the 8K Vista Vision Sensor that IN MY OPINION will be announced at NAB 2017 as a Helium Sensor or BEYOND of 40.96 mm X 20.6 mm, THAT WILL become a 16K Helium Sensor with 50 mm X 30 mm in a measurement’s.

That’s when the ACTUAL Cooke 28.17 mm X 18.13 mm / ø: 33.50 mm Image Circle will have a major impact on the “Radical Image Sensor” of the “Lens TO Sensor Combination” will have a major impact on the use of Cooke Anamorphic Lenses (for those BRAVE SOULS who want to use them). Just place the “ACTUAL Lenses Measurement’s” over the “New Sensor Size”, and all of sudden there is enough room for the Cooke Anamorphic, with room to spare.

From a recent Cooke Press Release; “Leicester, UK – 13 December 2016 – At BSC Expo 2017, Cooke Optics, the multi-award winning manufacturer of precision lenses for film and television, will present its Anamorphic/i and Anamorphic/i SF lenses that give cinematographers more choice in the looks they can achieve. The Anamorphic/i lenses offer a classic anamorphic look, while the Anamorphic/i SF ‘Special Flair’ range features a coating that kicks up the flares, bokeh and other aberrations to provide another level of anamorphic character.”

http://www.cookeoptics.com/u/news.html?Open&v=99&c=1&y=99&d=786111B006984C3385258089006EF43A

Humberto Rivera

 

[Humberto Rivera]

This is a culmination of reading Vittorio Storato’s article on FDTimes “Digital Cinematography on “Café Society” http://www.fdtimes.com/2016/12/30/vittorio-storaro/, watching “The Birds” by Alfred Hitchcock” (Release Date: March 28, 1963) at 2:20 am on New Year’s day 2017 when I could not sleep, the new Red S35 8K Helium Sensor Size Camera, and the Cooke Anamorphic Lenses.

I remember taking a class by Lester Novoros while a student at the USC Cinema School (in 1969 – 1970s) who liked to give his classes at his small studio on Cuenca Blvd., all over his walls were the story boards for the Film; “The Birds”! Watching the Film reminded me of how far we’ve come to equal the look of Film and Digital Cinema, on a High Definition Television and I’m sure on film as well if it was possible and Financially Profitable to Screen the Film TODAY Vs. a 4K or 2K Digital DCI. Times have change but the “look” has not change on the screen, and that’s what is really important. Let’s not forget the painting made in the 1600s by any major painter of the visual arts of that time.

What if the Cook Anamorphic Lenses available now, that would have improved the “LOOK” of the film using the Red 8K Helium Camera with the Cooke Anamorphic Lenses of today, now that’s an improvement on the Technology, as well as being able to go directly release to print without any loss of quality from the “Recording media to the Release media” (or Digital Copy) in the year 2017. That’s a 54 years difference from the release date of “The Birds” to today, we’ve come a long way in that span of those years.

Cinema has definitely come a Long Way, and the importance of a New World Wide Audience! Look at Vittorio Storato’s “Apocalypses Now” or “Tango” or “The Emperor” or any one of his films before he made “Café Society” with the Cooke Lenses, not Anamorphic because of 30 mm Image Circle, while the Cooke Anamorphic have an Image Circle of ø: 33.50 mm. And there is so much to come from the Red Digital Cinema Company, stay tune for NAB 2017.

Humberto Rivera

 

[Humberto Rivera]

I had some thoughts about NAB 2017. Some of the reasons why I think there will be a possible be an announcement of a Helium Vista Vision (or some other name) at NAB 2017. First of all it’s not that complicated to put a larger Helium Sensor in an existing Vista Vision Configuration. It’s like the marriage of two existing technology’s into one Camera. From all the things I been able to see recently, the Helium Technology has a slight advantage to the existing 8K VV Camera, in my opinion. All the lens manufactures seem be heading in that direction. With a Helium Vista Vision it would be possible to get a good Cooke 28.17 mm X 18.13 mm / ø: 33.50 mm Image Circle, into a 60 mm X 30 mm Image Sensor, in what might be a 12K Sensor with the possibly New Helium Camera. Or they might announce a Camera with a 28.17 mm X 18.13 mm Sensor, who knows!

Of course there is the Question; of why waste the extra space using a Cooke Anamorphic Lens, well that’s the Question? The most important reason is that you get to use the Cooke Anamorphic Lenses with thee Cooke Look! You will definitely be way above 8K and more important be way above in the Virtual Range in Resolution, and you’re going to downscale to 4K or 2K for today’s Distribution anyway. And don’t forget that you really don’t get an 8K Resolution because you have to cut down the frame size for whatever you chose to shoot; such as Wide Screen. So doesn’t it matter is we cut down the frame size one way or the other; just a question that’s in my head. Just speculation in my head.

Humberto Rivera

 

[Ho Perry]

Shot with Red Helium 8K With Cooke Anamorphic Prime Lens

Shot with Red Helium 8K With Cooke Anamorphic Prime Lens

I just get done [HuaWei] Commonweal Short Films with Red Helium 8K and Cooke Anamorphic/i prime lens,
personally had use for Audi Concept Car shooting before and this time, I not really Happy with the new cooke anamorphic/i prime lens,
cause I can't get the traditional looks from this set of lens, and the distortions from this set of lens were quite stranger,
although I had talk to the Les Zellan face to face last year, the only thing luckily can still get the Cooke Look...

 

[Alexander Leeway]

I just get done [HuaWei] Commonweal Short Films with Red Helium 8K and Cooke Anamorphic/i prime lens,
personally had use for Audi Concept Car shooting before and this time, I not really Happy with the new cooke anamorphic/i prime lens,
cause I can't get the traditional looks from this set of lens, and the distortions from this set of lens were quite stranger,
although I had talk to the Les Zellan face to face last year, the only thing luckily can still get the Cooke Look...

Looking amazing, Ho mate. When can we watch these?

 

[Alexander Chinnici]

The Cooke Anamorphic lenses bow inwards (as seen in your last photo of the left portion of the frame). I have shot on these lenses a good amount and while the focal length choices, uniform size (for the most part) and the bokeh are nice the inward bow is a complete deal breaker in my eyes. With the new SF version's better flares I do hope that Cooke does something about this in a future set since it is extremely undesirable.

 

[Humberto Rivera]

I think that Perry Ho images are great, I would love to see the completed, edited version. As for how the Cooke Lenses look, they would be the first to say, “You’ll either love them or you won’t” that’s the plain truth!

Humberto Rivera