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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 :)

DRAGON - ITS THE REAL DEAL !!!!

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Damn, I shouldn't have read the engadget post :) All those silly remarks just make me cringe.

What I find always amazing is how so many people all of a sudden KNOW what's what. As if they have made intensive tests and compared sensors. People yearning for a bit of online "glory" or just looking for a stage to show of their so called knowledge - just sickens me.
[RANT OFF]
 
I think RED owes Mark a Dragon for this. Nice work, nice images, thanks Mark. Anyhoo, I'll let all you Mr. Moneybagses out there pay for the R&D this time round and reap the benefits later.
 
Cid J Salcido Uyarra said:
Awesome good to know.

I'll keep my eyes peeled for your notes Phil always super helpful.
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Phil has put most of the Cine Primes in the market on the Dragon.. and almost everything gets you to 5.5k. I know we were going to wait for the zooms to test, but maybe Phil you should start another thread in the Dragon section and release your coverage charts for the primes.
 
Jarred Land said:
Phil has put most of the Cine Primes in the market on the Dragon.. and almost everything gets you to 5.5k. I know we were going to wait for the zooms to test, but maybe Phil you should start another thread in the Dragon section and release your coverage charts for the primes.
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Roger that. Up in a few minutes.
 
Very LOVELY footage from a clearly AMAZING camera. (I am wondering, btw, if there is any indication as to the extent of rolling shutter? Similar to Epic; less?)

What I see is a camera that allows you to shoot without fear. There is a recklessness in movies like "Butch Cassidy" and "The French Connection" that I miss in many digital films. It's like people have become so waveform conscious that a vibe of timidity and planning has seeped into their footage.

IMHO, Dragon harkens back to the days when a Conrad Hall could fearlessly backlight with the sun and not be afraid of blowing out the frame, because he knew film overexposes so beautifully.

CONGRATS Jim & Co.!!!

And THANK YOU Mark!
 
Food for thought: Geoff Boyle says on the cinematography.net cml-digital-raw-log mailing list:
First reports say 20+ stops, then 16+ stops now the guy who has shot with it
says one stop more highlight and 2 stops more shadow. Err, Alexa was doing more than that 2 years ago.

He seems to think Alexa has more than 3 stops over Red Epic. ?
 
Michel Hafner said:
Food for thought: Geoff Boyle says on the cinematography.net cml-digital-raw-log mailing list:
First reports say 20+ stops, then 16+ stops now the guy who has shot with it
says one stop more highlight and 2 stops more shadow. Err, Alexa was doing more than that 2 years ago.

He seems to think Alexa has more than 3 stops over Red Epic. ?
Click to expand...

Well, eventually they will do some kind of harsh side-by-side test of Epic MX, Dragon, F65 and Alexa. Hopefully unbiased. As honest and no-bullshit as Mark's footage was, it gives naysayers food, just look at some of the "professional DP" comments on vimeo and other sites, same old "magneta highlights" and "still no sweet rolloff, glad my Alexa is safe". I say put it alongside F65, arrange a stress-test like Toia did and then you're allowed to judge both sensors. I just hope NDs or polarizers stay home, looks like it's killing the "shoulder", just let the highlights bloom this time. Just my 2 pixels.
 
Vadim Bobkovsky said:
Well, eventually they will do some kind of harsh side-by-side test of Epic MX, Dragon, F65 and Alexa. Hopefully unbiased. As honest and no-bullshit as Mark's footage was, it gives naysayers food, just look at some of the "professional DP" comments on vimeo and other sites, same old "magneta highlights" and "still no sweet rolloff, glad my Alexa is safe". I say put it alongside F65, arrange a stress-test like Toia did and then you're allowed to judge both sensors. I just hope NDs or polarizers stay home, looks like it's killing the "shoulder", just let the highlights bloom this time. Just my 2 pixels.
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We all seen that RED is revolutionary company..and i bet they are still cooking :) its not out yet!
 
Totally blown away by the Dragon footage!!!

Are Red planning to update their website recording time calculator for 6k? http://www.red.com/tools/recording-time

Im curious to get an idea of data rate for 6k at various redcode compressions... or is it simply a mater of multiplying the existing 5k rates by 1.4?
 
Jannard said:
Are you sure? I don't know for sure but their spec sheet has a 36x24mm coverage ratio of 1.5:1. Unless I am reading that wrong... that would certainly be enough. The Zeiss Cps are also FF capable.

Any lens you can mount on an EPIC will cover something... even a 16mm lens. The question is just how much.

I'm sure there will be a chart out soon with most of the lenses and how much of the sensor (how many K) they cover.

Unless someone has tried them, I'd request everyone refrain from guessing.

EDIT:

From Canon's website-

Canon’s brilliant series of Cinema Prime Lenses offer
spectacular 4K-image quality and a full-frame
imaging circle, in a lightweight and dust/water
resistant compact design, making them ideal for any
number of applications. This comprehensive line of lenses
includes five EF-mount models (CN-E14mm T3.1 L F,
CN-E24mm T1.5 L F, CN-E50mm T1.3 L F, CN-E85mm T1.3 L F,
and CN-E135mm T2.2 L F) with consistent form factors and
markings optimized for motion picture production.

Additionally,

Perfect on the family of Canon cinema cameras - EOS C100, EOS C300,
EOS C500 and EOS-1D C, these EF-mount lenses are also compatible
with Canon EOS DSLRs — including full-frame models like the
EOS-1D X, EOS 5D Mark III and cameras like the EOS 7D and EOS 60D
that use APS-C sized sensors.

Jim
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Ooops!
 
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