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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 images...

Jarred Land said:
1271054964.png
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nice!
 
If this doesn't get you out of the 7D thing, nothing will. Just remember your 3rd grade teacher, you can't compare apples and oranges. And I won't be facetious, but imagine toying around your Red footage, and your 7D footage. Something here will get clogged pretty fast... Take your pick... 7D is no more than tapeless DV, without the huge advantage of being a "camera" you can actually shoot with, focus, etc... And the sound thing too...

1266225422.jpg
 
Colin Hubick said:
does anybody have a zone plate of the 5d mk ii?

curious how it compares...
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It was posted somewhere... it line-skips the same as a 7D.

Jim
 
Thanks Michael, certainly does line-skip.

Takes nice stills though.

cheers
Colin
 
Lewis-M Soucy said:
7D is no more than tapeless DV, without the huge advantage of being a "camera" you can actually shoot with, focus, etc... And the sound thing too...
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I may be nitpicking here, but I am reasonably sure that the 7D actually is a "camera", you can actually shoot with it and focus it and even record sound. I am also reasonably certain that if you recorded the 7D's video to DV, you would probably lose some resolution and risk further compression artifacting.
 
Jarred Land said:
setting focus points and racking back and forth to them will likely always work better than an autofocus pretending to know what you actually want in focus...
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This is hot. Focus points could be set with more light for tighter autofocus. Then on the low light take, touch the points on the screen. Ba-da Bing, Ba-da Boom. Touch screen follow focus on a run and gun if there's not too much focus hunting. Just keep a focus lock. Lot's of possibilities.
 
I honestly feel the ONLY reason 7D/5D get brought up so much is that people don't have their Epic/Scarlet yet. (And yes, I am a 7D owner who uses it often). It might be Apples to Oranges, but right now, we don't have our Oranges so we keep playing with our Apples! :)

But seriously, 7D for me has been a great stop gap getting me ready for the S35. Not because of the limitations obviously, but getting comfortable with my lens and DoF on that sensor size. And since I like to shoot at night a lot, it's been amazing at that. (And it has allowed me to save up for my Scarlet Fixed that I am ready to purchase right now).

Now, just imagine how much of an amazing thing it's going to be to have a better audio implementation, electronic rack focus, focus by touch, a moveable LCD, no rainbow Moire and no H.264 to name just a few things. They say you can't feel pleasure without having felt pain. I'm just setting myself up to be VERY happy with my Red purchase :)
 
Jarred Land said:
But, on Epic you can manually program into the camera metadata things like F-stop and Focal Length on lenses that do not send data to make sure that info is there all the way down the road.
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Is that an Epic exclusive or are we just talking about Epic right now?
 
Jannard said:
But I really believe that the "I need uncompressed" guys are just collecting data. Even if you are shooting plates for VFX, I can't see more than REDCODE 100.

In any event, you have REDCODE 250 if you feel you need it.

Jim
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You might be right but keep in mind that those who say "I need uncompressed" (or more accurately, "I would like uncompressed") can't see it either. Compression algorithms are great at *perceptual* compression. They discard data the human brain is bad at seeing. Keyers however don't see things using the human visual cortex and have an amazing knack for discovering compression artifacts that are invisible to the human eye. Particularly in blonde hair on a green screen where the contrast is so low you wouldn't ever be able to see a compression artifact but has to be compressed from a 1% contrast ratio to a 100% contrast ratio (alpha channel).

Also most of those "people" are already rendering out R3Ds to uncompressed DPXs as intermediates by necessity so 2:1 or 1:1 isn't that much of a difference in their current workflow. Either way it's going to be huge on disk.
 
Jarred Land said:
Presto Change-o
--Grip Photo --
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Oooo! A normal RED Volt inside the grip. I thought it was going to a special grip battery. That's spectacular. So you can use RED Volts in either the normal battery module or in the grip without buying sets of both.
 
what a camera! (anxious)

Luckily Jim manufactures cameras and not to make grades :-)
 
I love the Canons. Despite all their flaws I think they're really something special. Love Red too. But love Canon. I love cameras and I love lenses even more. Oh snapppp :spam:Wish I was at NAB to party with you users

Rick Burnett said:
I honestly feel the ONLY reason 7D/5D get brought up so much is that people don't have their Epic/Scarlet yet. (And yes, I am a 7D owner who uses it often). It might be Apples to Oranges, but right now, we don't have our Oranges so we keep playing with our Apples! :)

But seriously, 7D for me has been a great stop gap getting me ready for the S35. Not because of the limitations obviously, but getting comfortable with my lens and DoF on that sensor size. And since I like to shoot at night a lot, it's been amazing at that. (And it has allowed me to save up for my Scarlet Fixed that I am ready to purchase right now).

Now, just imagine how much of an amazing thing it's going to be to have a better audio implementation, electronic rack focus, focus by touch, a moveable LCD, no rainbow Moire and no H.264 to name just a few things. They say you can't feel pleasure without having felt pain. I'm just setting myself up to be VERY happy with my Red purchase :)
Click to expand...
 
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