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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 :)

DSMC is not going to happen...

Christopher Barrett said:
Jiri,

My background is in shooting stills... for the past 20 years. I work with some of the best equipment available... 60 megapixel digital back mounted to either a technical camera or view camera (depending on the situation) and using the latest digital lenses from Schneider and Rodenstock. The first things I look at in a digital capture are the dynamic range, color fidelity and sharpness. Below is a quick test I did at the house to compare my medium format system to my Red One MX. These both look quite good. There is far more detail and sharpness in the image from my still camera, but look at the dynamic range in the Red One still.... most notably the hilight detail. This is HUGE for me as I'm often struggling to maintain detail in window views. I've had my Epic a few weeks now, and while I haven't done any side by side tests, it's range feels even more impressive. Once my Cannon mount arrives (enabling me to use Tilt/Shift lenses) I'll take the Epic out on a still only shoot and am anxious to see the results of that.

Meidum Format Digital Back... Big

P65.jpg



Red One... Big

RedOne.jpg


Looking back, I think the Red One Sample could use a hair more Red in the grading. Also notice how my Cooke Panchro/i 18mm (Red One) has way less falloff than my Schneider 35mmXL (MFDB).


Cheers,
CB
Click to expand...
Chris, this is great. Can you provide an R3D snapshot of the Red One still. I'm curious about something. Thanks!
 
Jannard said:
Strobes means you are just shooting stills, not motion. You just need a still camera for that. DSMCs need continuous light.

Jim
Click to expand...

You have there a very important point!
And i love we're heading to use cinema techs into photography and photography ways into cinema.
For me personal that is the true power of red. And the way to move creative boundaries up.
For example I can't wait to compose photo shoots not in photoshop, but in a compositing package (nuke, fusion etc.)
Different workflows give different styles and new possibilities.

I just have to go see above just strobes and think more out of the box, for sure you guys at red (and many users) did it before!!.
 
Shooting strobes handcuffs you to one thing only... stills. The future is motion and stills from the same light and same camera.

Jim
 
Steve Sherrick said:
Chris, this is great. Can you provide an R3D snapshot of the Red One still. I'm curious about something. Thanks!
Click to expand...


seems the raws were the victims of a recent system purge, sorry. I rather want to do a new test now that I've got the Epic, tho.
 
Jannard said:
Shooting strobes handcuffs you to one thing only... stills. The future is motion and stills from the same light and same camera.

Jim
Click to expand...

The only major diffrents between photography and film is time.
While in a photo time is captures in a moment and expands on into to the imitianation of the viewer.
In film the time expands and builds up to a point it graps the viewer and show the imationation.

Photography moves time
Film grips time
 
Tangent re pulling stills from video files: this is what slows me down during editing. Sometimes you find a single frame from a scene that perfectly captures the feel of the story, and the soul of the characters. Sometimes the stills are more compelling than the edited scene.
 
Also... reviewing is much easier. Just hit the play button and watch until something comes up you like. Hit stop. Rewind until you find it. Make TIFF. Easier than pouring through mountains of images on Bridge or Aperture one by one.

Jim
 
Jannard said:
Shooting strobes handcuffs you to one thing only... stills. The future is motion and stills from the same light and same camera.

Jim
Click to expand...

I do agree for the most part. But :
Epic and scarlet remains "big" as still cameras. So for fashion shot or this kind of work, it's definitely the best tool as you an get both the best motion and still material.
But how about the need of picture quality in the size/weight of a Leica M ? How can we achieve that ? Do you have interest in this market ? I already feel my Canon 60D is too heavy for hanging around whole day with it, and Leica M9 is both too expensive and not that stunning performances.

You already won the battle for DR, and i guess the one for definition VS medium formats is just a matter of time. Though i feel for street photography it's still a bit scary tool.
 
DCC Erickson said:
Tangent re pulling stills from video files: this is what slows me down during editing. Sometimes you find a single frame from a scene that perfectly captures the feel of the story, and the soul of the characters. Sometimes the stills are more compelling than the edited scene.
Click to expand...

I don’t think that’s tangential at all I see what you say as absolutely key.

The high res and high frame rate and easy review is going to have major impact on the quality and levels of expressiveness that can be achieved in “photography”. This is a tool that enables a new level of artistic realization that has simply been near impossible before or very rare, and I think this really enables photographers to be able to raise the bar in a very consistent and substantial way. I.e. now it is possible to really reach for things that before would have been put down to good skill, feel and luck.

With the DSMC concept/reality this enables one to really close in on what is really in the mind’s eye. To me that’s what it’s really all about to have tools that can bridge that gap.


Ta.

Eric
 
Jannard said:
Shooting strobes handcuffs you to one thing only... stills. The future is motion and stills from the same light and same camera.

Jim
Click to expand...

I just wrapped a project shooting Olympic athletes going through their paces. The stills photographer got them first. It sometimes took a while for him to get the perfect shot. The whole time I was thinking, "Man, it's too bad he didn't bring an Epic for that."
 
Jannard said:
Shooting strobes handcuffs you to one thing only... stills. The future is motion and stills from the same light and same camera.

Jim
Click to expand...

You know, there are huge advantages in photography to continuous lighting - you can preview final lighting in the viewfinder, for example, and change things dynamically.

The big argument for strobes is that they are not as miserably hot as continuous lighting - but with modern LED continuous lighting, I would think continuous would be far superior for all photography. Also, EPIC requires much less light for shooting than conventional setups.

So perhaps the days of the strobe are numbered ...

D
 
The days of strobes ARE numbered.

Jim

David Dennis said:
You know, there are huge advantages in photography to continuous lighting - you can preview final lighting in the viewfinder, for example, and change things dynamically.

The big argument for strobes is that they are not as miserably hot as continuous lighting - but with modern LED continuous lighting, I would think continuous would be far superior for all photography. Also, EPIC requires much less light for shooting than conventional setups.

So perhaps the days of the strobe are numbered ...

D
Click to expand...
 
This pretty much sums up DSMC...

http://cinescopophilia.com/forget-jackson-cameron-greg-williams-is-the-epic-king/

Greg Williams was one of the first to " Get it " ... the month after the RED ONE was released he was shooting fashion covers with it. He has done a ton... For Vogue, Esquire, etc. At the end of the day he gets a ton of stills plus a healthy amount of motion to put together ( and sell ) a motion piece for his client's websites and iPads.

The Megan Fox motion cover and video he did for Esquire on the R1 had a dramatically higher viewership than the print campaign did. Thats when the lights started to turn on for the Publishers. The next one, Kate Beckensale, Esquire started to reverse their thinking, concentrating on the motion and taking stills from that motion.

And that was with RED ONE. Greg now owns an Epic, and now he is taking things a step further.

One of the difficulties in shooting for both motion and stills used to be motion blur if you shot the motion at 180 degree shutter or higher.. Now with EPIC and HDRX you can shoot one track for motion, and use the HDRX shorter shutter track for sharp stills.

Times are changing.
 
I'm actually looking at all my equipment at the moment... We have boxes and boxes of it. Flash heads, cameras, from 10x8 inche sinars down 5x4, 6x7cm, 645...35mm... heaps of canon bodies... video cameras and lenses coming out of my ca hooza... just a piles of it.
oooh.. and lenses coming out of my ca hooza...

Years of gear now wrapping into one camera body.
All I shoot now is images from my iphone and my EPIC... thats it.

I think it's time to clean up my life out and simplify all around me.

A few epics bodies, couple sets of super speeds, keep all my Canon L glass... and sell the rest.

Already I feel cleansed just saying it.

PS... funny thing last night, one of the crew said to me, why do you shoot those EPIC's Alexa is easier... I laughed so loud, I popped a small blood vessel in my eye. Bloody hell! :))))
 
Why is Contagion on the poster?

How much of The Girl with the Dragon Tattoo was shot with the EPIC?
 
Marketing. A bit of each was shot on EPIC. Plus... the posters look good. :-)

The rest of both was shot on RED ONE MX.

Jim

Keegan O'Brien said:
Why is Contagion on the poster?

How much of The Girl with the Dragon Tattoo was shot with the EPIC?
Click to expand...
 
I thought it was... not so.

Quite a bit of "The Girl with the Dragon Tattoo" was shot on EPIC. More than expected.

Jim

Keegan O'Brien said:
But.... you said earlier that Contagion was 100% MX... what am I missing?
Click to expand...
 
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