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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 :)

Epic#00087 & Crash Shoots Promos for George Lopez Show on TBS

AnthonyFlores said:
Like others, I'm just blown away by the size. Used on traditional size tripods it almost seems like too much. But man, it's so cool. Impressed that you're already jumping into work like this.

Also Dino, looks like ultra primes on there ... how did they perform? Was there a need to ever use the lens wide open?

Anthony
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everyone seemed happy
 
Francesco Bonomo said:
dino, first of all, thanks for the report.
Would it be possible to have your AC to post his initial thoughts about the camera from an "assisting" perspective?
Thanks
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francesco, funny it should be you to ask this, joe provenzano went to film school in rome...i will send him this and see what he does, not sure if he has ever logged into reduser...joe did DP a bunch of shots on the most recent red reel and shots on almost all the red reels...
 
well by then i will have posted new BTS from my shoot tomorrow, so good luck trying to stay away!
 
KETCH ROSSI said:
I don't know why I'm so adictly (is this a word?) in Love with the BTS stuff, ;)

Thanks for sharing Dino col stuff.
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Yes Ketch, you are on the right track ... you can say you "addictively" in love with the BTS stuff. (Though addictively is not that commonly used and not in some dictionaries.) Anyway, me too and very glad that you've got Joseph with you to document everything :)
 
1st AC view of EPIC

1st AC view of EPIC

Francesco Bonomo said:
dino, first of all, thanks for the report.
Would it be possible to have your AC to post his initial thoughts about the camera from an "assisting" perspective?
Thanks
Click to expand...

So far so good. Of course I didn't get much hang time with it with Dino G on set. You ever work with this guy? Every crackle of a walkie and this guy is already hovering over the camera double-checking the settings!
I was really impressed with the quality and structure of the PL mount. Solid titanium? And you can see the massive steel bolts where the Mounting Board is attached to the body. Nice not having PL-mount ears that get in the way. The mount is smooth and tight.
I love the touch-screen menu system and all the new information on the color readout on the Remote Display, which we had mounted on the rear of the body. Everything pertinent is now visible at a glance. 4 user-definable buttons, in two convenient locations. Also great to see a full 1080 output on the on-board monitor. The picture looked amazing.
I'm not a geek, so I didn't stick around long after wrap and play with the camera's possible modular configurations, but I always appreciate an adaptable system.
A few modifications or add-ons I'd like to see would be a tape-hook at the film plane, a dummy-side film-plane mark on the modular grip, an audible beep for roll/stop and/or sync-speed.
All-in-all this camera is everything I hoped it would be, and more. How in hell it's so small and still does so much is a mystery.
Feel free to post any questions you might have and I'll try to answer them.
Joe Pro
 
joepro said:
So far so good. Of course I didn't get much hang time with it with Dino G on set. You ever work with this guy? Every crackle of a walkie and this guy is already hovering over the camera double-checking the settings!
I was really impressed with the quality and structure of the PL mount. Solid titanium? And you can see the massive steel bolts where the Mounting Board is attached to the body. Nice not having PL-mount ears that get in the way. The mount is smooth and tight.
I love the touch-screen menu system and all the new information on the color readout on the Remote Display, which we had mounted on the rear of the body. Everything pertinent is now visible at a glance. 4 user-definable buttons, in two convenient locations. Also great to see a full 1080 output on the on-board monitor. The picture looked amazing.
I'm not a geek, so I didn't stick around long after wrap and play with the camera's possible modular configurations, but I always appreciate an adaptable system.
A few modifications or add-ons I'd like to see would be a tape-hook at the film plane, a dummy-side film-plane mark on the modular grip, an audible beep for roll/stop and/or sync-speed.
All-in-all this camera is everything I hoped it would be, and more. How in hell it's so small and still does so much is a mystery.
Feel free to post any questions you might have and I'll try to answer them.
Joe Pro
Click to expand...

Thanks for the amazingly quick reply, Joe, and welcome to the boards! Grazie di cuore! :-)
Interesting observations about the "wish list" for add-ons, it's similar to what I was thinking when i first looked at pictures of the camera and didn't see the tape-hook, hopefully they will listen and provide a solution for that.
I know it's way too early to tell, but do you think you'll use RedMote (on camera or detached) more than touch screen in the future or vice-versa? Would you wish for a way to attach the redmote to the dummy-side of the camera, like you would have on some film cameras, leaving the rear of the body "free" with other modules?
Anyway, it really seems like a great camera to work with, can't wait for it to reach rental houses and put my hands on it.
Thanks again, ciao

Fra
 
dino g said:
IMG_5067s.jpg
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Thanks for sharing all this with us Dino. :-)

What MB and FF did you guys use ?
 
For a newbie wanting to learn, what is a tape hook for?

In this world of Indie production that Red is sure to inspire, it would be great if someone wrote a book or website that helped educate those of us who want to do things correctly and with "best practices" but have no time for film school other than hard knocks. I know there is a lot out there already, but since Red cameras are so cutting edge, there are capabilities, techniques and workflows that are totally unique to it. I know I would pay money for such a Reducation.

But even with concepts and techniques that have been around for a long time... For example, I still don't understand the practical use of matte boxes or why everyone seems to like anamorphic lenses. It would be great to have the nuts and bolts (and art) of cinematography in one place, but ALL of it with Red products and capabilities in mind.
 
Andy Roberts said:
For a newbie wanting to learn, what is a tape hook for?

In this world of Indie production that Red is sure to inspire, it would be great if someone wrote a book or website that helped educate those of us who want to do things correctly and with "best practices" but have no time for film school other than hard knocks. I know there is a lot out there already, but since Red cameras are so cutting edge, there are capabilities, techniques and workflows that are totally unique to it. I know I would pay money for such a Reducation.

But even with concepts and techniques that have been around for a long time... For example, I still don't understand the practical use of matte boxes or why everyone seems to like anamorphic lenses. It would be great to have the nuts and bolts (and art) of cinematography in one place, but ALL of it with Red products and capabilities in mind.
Click to expand...

in short
1.tape hook.....to measure correctly the distance from sensor to actor or whatever with measure tape, so u can set the lens to the measured distance and the object is in focus
2. mattebox....to controll the light which can hit the lens and create unwanted flares or reflections
3.ana lenses....today and with red...the flares ana lenses create and the dissortion
 
Andy Roberts said:
For a newbie wanting to learn, what is a tape hook for?

In this world of Indie production that Red is sure to inspire, it would be great if someone wrote a book or website that helped educate those of us who want to do things correctly and with "best practices" but have no time for film school other than hard knocks. I know there is a lot out there already, but since Red cameras are so cutting edge, there are capabilities, techniques and workflows that are totally unique to it. I know I would pay money for such a Reducation.

But even with concepts and techniques that have been around for a long time... For example, I still don't understand the practical use of matte boxes or why everyone seems to like anamorphic lenses. It would be great to have the nuts and bolts (and art) of cinematography in one place, but ALL of it with Red products and capabilities in mind.
Click to expand...

If you have any questions about cinematography best practices I'd strongly suggest hanging around the "Ask David Mullen ANYTHING" thread or better yet by the book "Cinematography" that he co wrote. That man is a gold mine of knowledge.
 
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