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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 :)

EX1 vs. RED

Adaptors are always going to be inferior to proper 35mm sensors. For me the EX1 is great due to cost, image quality, size and workflow. I shot a lot of docs and it's great for that. I add the Letus to improve the image and the results are astounding but it will never compete with the Red in image obviously!

Would I like a RED? Yes, when my work demands it. Right now the EX1 and Letus serves me very very well.
 
Philip Bloom said:
Adaptors are always going to be inferior to proper 35mm sensors. For me the EX1 is great due to cost, image quality, size and workflow. I shot a lot of docs and it's great for that.
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First, I enjoy watching your stuff. Thanks for getting out there, having fun and posting it.

I really love the EX1. It's got so much going for it. I think Sony knocked it out of the park with that camera.

I personally wouldn't try to shoot a doc with RED but I know others will and will succeed. (Actually I'm going to shoot some dramatic reenactments for a DOC with RED.. it'll be great for that)

But having said that, RED beats the EX1 for pure movielike image quality now that I've test them side by side. I still need to throw an adapter on the EX1 vs. RED... but RED is rock solid unit. 2 or 3 stone to be more precise. Adapter units always feel a little squirrelly to me.

Anyway, I think Jim should give you a RED. Good Luck! :-)
 
The combined kits of our alliance company and GibCor now includes six RED ONE cameras (and two more on the way), a Sony HDC1500, A Sony F900, and two Sony EX1 cameras. We also have tons of lenses and accessories for each camera. We push each camera to the very limits of its performance envelope.

To use a painter analogy, when painting a wide variety of pictures and picture types, a choice of paint brushes makes a painters job easier - and the end result more diverse. Each brush has intrinsic and utilitarian value.
 
right camera for the right job. ABSOLUTELY!

Hence I will hire f900r for some gigs, digi beta for another, use one my cameras for another.

A red would be a wonderful thing to have in my arsenal. But there is a long wait for one and am not sure I could justify the cost right now.
 
latitude

latitude

Poi Boy said:
Blah blah blah ! dude get over all these numbers ! They don't mean shit .Supersampled 2K from 4 K ... venture 444@2k means nothing ! excuse my rant , I've had a couple but have you looked at the footage ? and compared to what was the norm six months ago ?

"I think I'd like to film on a digital camera with more latitude, even if that meant reducing the number of pixels to 2K or HD. Clipping is just the ugliest thing I have ever seen. Obviously the Sony EX1 is not that camera, but I am a little disappointed that RED isn't either."
You gotta be kidding ! ... Red image when done well is hard to beat, not unbeatable but hard to beat. Will it get better ? Yes. but it is certainly not hurting for latitude or picture quality.
-A

_A
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Latitude, you nailed it. I know it sounds expensive but can´t they put two sensors and combine them, each calibrated at a different range of brightness or light intensity. This would at least give double the latitude, and help you make a projection of how to cut at both ways.
 
A native HDR camera would be interesting, and with a prism I guess it would be possible, but the complexity would be high. Not to mention the data rates. To be useful you'd have to record both streams so that specific dynamic range balance could be decided upon.

I guess realtime HDR video imaging might be the next port of call, but it might take a little while.
 
I have both and no comparison - Red obliterates the EX-1
 
Here. I've taken two good looking frames from both cameras, I've recompressed them with the same jpg settings.

EX1:
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RED:


To me, it's like seeing an imprved FX1 frame grab against a DSLR, but, hey, everyone is entitled to an opinion.
 
mavrix said:
I have both and no comparison - Red obliterates the EX-1
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It is amazing that the image quality of the EX1, RedOne and F23 can even be compared given the vast cost differential. Operationally each camera has it's own strengths and weaknesses though. Even when setting aside price, there are situations where the EX1 or the F23 would be the more appropriate camera. Tool for the job...

M
 
Concrete said:
Here. I've taken two good looking frames from both cameras, I've recompressed them with the same jpg settings.

EX1:

RED:

To me, it's like seeing an imprved FX1 frame grab against a DSLR, but, hey, everyone is entitled to an opinion.
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I'm not sure that it's right to compare a time lapse shot in low light conditions at 60i to a day shot for red.

edit/
It's not to say that the EX1 would suddenly give the Red a whooping its just it seems like you were selective to make the EX1 look significantly worse just sayin.
 
it seems like you were selective to make the EX1 look significantly worse just sayin
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By no means. I tried to post some very detailed, good-looking pic from both cameras. That one was the best of the bunch posted in the link.

Here, a day-ext, progressive frame from the EX1:


They're simply not in the same league.
 
If I wanted to make un unfair comparison I'd have chosen this pic:


Now, notice that these comparisons are in fact unfair to RED, since what I posted is pretty much what you get from the EX1 codec but not what you get from the RED's RAW wavelet based codec, which allows a lot more post manipulation.

We shouldn't forget that what the EX1 is using is just a glorified HDV.
 
In the above picture with the bridge, is it an effect of in-camera sharpening or what? Is it just me or those buildings in the distance look like composited in without proper mattes.
 
I have just come back from a one month shoot in West Africa with an EX1, shooting voudou cermonies and such. Picture quality serves the purpose (TV) just fine and size does matter when you are surrounded by a moving, dancing, shouting und drumming crowd - the EX1 was the right tool for this and I will use it again for similar jobs. One hour after I had come to the office straight from the airport, the Fedex guy delivered my RED. Now the real fun starts ...
 
Concrete said:
If I wanted to make un unfair comparison I'd have chosen this pic:


Now, notice that these comparisons are in fact unfair to RED, since what I posted is pretty much what you get from the EX1 codec but not what you get from the RED's RAW wavelet based codec, which allows a lot more post manipulation.

We shouldn't forget that what the EX1 is using is just a glorified HDV.
Click to expand...


In one mode, in another via HD SDI it's an affordable, very good 10bit:4:2:2 camera.
 
My take on this is that both RED and the EX-1 are amazing bargains. The RED is a completely different animal, and yes, way better than the EX-1 in every aspect. But truth be said, the EX-1, at $6300 street price is a tremendous bang for the buck, and for all those up and coming film makers, it is a great package that will provide great images, portability and affordability, especially if the final product is intended for TV.
 
In one mode, in another via HD SDI it's an affordable, very good 10bit:4:2:2 camera.
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Of course, and if you add an adapter, then you get 35mm DOF. But then we are beginning to talk a different machine, don't we?

Suddenly, the camera isn't so light, cheap or easy to operate.

I agree that it is a very good cam and may be a good choice for many jobs. I just don't think that both cams are comparable, as the guy from Dalsa insinuated.
 
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