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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 :)

F5/55

Adrian Jebef said:
How about a full-app sensor for true anamorphic ? ALEXA is still the only game in town...
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Posts like this drive me crazy. Have you seen side-by-side tests screened of 5K ANA from Epic raw vs. ARRI Alexa Raw anamorphic with the same anamophic lenses - projected on the big screen ? I have. Epic kills Alexa studio on the big screen in anamophic from raw files. But again ... perception of the camera system often wins over testing and reality.
 
Mark L. Pederson said:
Posts like this drive me crazy. Have you seen side-by-side tests screened of 5K ANA from Epic raw vs. ARRI Alexa Raw anamorphic with the same anamophic lenses - projected on the big screen ? I have. Epic kills Alexa studio on the big screen in anamophic from raw files. But again ... perception of the camera system often wins over testing and reality.
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Mark have you seen Skyfall in Eyemax yet?....it looks pretty dam good.
 
Mark L. Pederson said:
Posts like this drive me crazy. Have you seen side-by-side tests screened of 5K ANA from Epic raw vs. ARRI Alexa Raw anamorphic with the same anamophic lenses - projected on the big screen ? I have. Epic kills Alexa studio on the big screen in anamophic from raw files. But again ... perception of the camera system often wins over testing and reality.
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Actually I have. And frankly, when I look at tests, I don't just concern myself with tech specs. I evaluate the image as a whole. The EPIC's sensor is too small to use proper anamorphic lenses (1.33 / 35mm full aperture gate). You MUST CROP the Epic's image when shooting 2x Ana. Is it acceptable? Is it sweet-looking? Sure, but you're also throwing away a lot of the image where the anamorphic look is highly exaggerated (top, bottom, left and right). Which means you're not getting everything the lens is trying to show you. The Alexa (and the Phantom HD Gold) are really the only cameras out there that will give you that true, full-frame anamorphic look.

I shot a quick full-app anamorphic test a couple days back. Perhaps I'll post it if you ask nicely...
 
Mark L. Pederson said:
Posts like this drive me crazy. Have you seen side-by-side tests screened of 5K ANA from Epic raw vs. ARRI Alexa Raw anamorphic with the same anamophic lenses - projected on the big screen ? I have. Epic kills Alexa studio on the big screen in anamophic from raw files. But again ... perception of the camera system often wins over testing and reality.
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Kind of depends on what you want it to look like. I have been to one of these tests as well. People split on the look that they preferred (in Hollywood studio setting). In truth most liked the Alexa. But with tons of new anamorphic lenses coming (from zeiss, cooke, Angie, hawk, scorpio) doesn't it make sense to support a 4x3 sensor? Next Epic should be an Epic studio with 4x3 sensor and a bigger body with the IO built in (and support for onboard battery). My 2 cents.
 
I really don't understand why someone here try to compare this sony joke camera.

It is just INCOMPARABLE ! Come one !

The sony F5/F55 are far bigger, need to have an additional recorder for 4K (make them bigger again), don't shoot in 5K. Will be not upgradable.

Where is the HDR mode ? Hahaha.

Can I use Canon lens on the sony ? Nikon ? Leica ? Again, let me laugh !

Really, RED is far far better on many points.

The design of the EPIC/SCARLET is like a DSLR, this is just amazing to have this in the hand !

It is an amazing tool for the size.

Trust me, Red is still unbeatable on his territory. Even the Alexa is just incomparable, it is a 12 kilos camera again 2 kilos of the red epic !

The red epic is still a kind a miracle in the technology world.

Like the monochrome Epic, I am pretty sure that the dragon sensor will blow our minds and just move the other cameras away.
 
Skyfall wasn't shot on anamorphics if that's the implication, it was shot on master primes.
 
Jeff Kilgroe said:
This is the one thing announced today that I really might buy. Now, if it's priced to the stratosphere like their 24" OLED displays, then I'll pass... I'm remaining hopeful.
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Sony will probably have a 4K package deal with the monitors and cameras and whatever else they throw on the wall between now and Spring. Given that the monitor we are discussing is older tech, it probably will be cheaper than their current 4K go-to, which is using more expensive parts. This is definitely an attempt to reach the smaller production companies.
 
Mark L. Pederson said:
No it did not bother me.

How did you feel about the 30% less resolution with Alexa Studio ana vs. Epic 5K ana? I thought is was very significant on the big screen.
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I for one do not care. The resolution is enough. The color is lacking in both.

When I think back to the anamorphic movies I loved, usually the filmic color is half of it and neither Alexa nor RED captures that yet.

The resolution may be great but I feel we're missing like 30% of the colors. Am I crazy?

Back to topic - F55 looks nice to me if it has the same color filters as F65 - but I haven't yet seen an F65 demo with awesome skintones in mixed artificial lighting.

"El Dorado" by Curtis Clark had awesome looking skin detail during the day exteriors. During the night shots it just had that digital beige skin look a la RED. The skin tones in "The Arrival" (nighttime stuff) just upset me.

So yeah... F55 in the day I can see working. Nighttime... I dunno. Maybe they can improve things?

Not sure what use a wide-gamut sensor is if it can capture hot pink neon but can't get subtle stuff right.

Bruce Allen
www.boacinema.com
 
Mark L. Pederson said:
I think Jim / Jarred should NOT pass all the price reduction to the EPIC brain. Split the difference EPIC brain and Meizler Module. The more Meizler Modules out there working - the faster EPIC gains further traction - the more brains they will sell. Meizler is a steal IMO at $13K - given all of it's features - but if RED has wiggle room on pricing - IMO they should lower EPIC less than they plan - and lower the Meizler Module a bit more. OR ... offer a price reduced bundle - new EPIC + Meizler Module bundle for XXX$$ - just thinking out loud here.
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Tend to agree...
 
Valentin Paris said:
I really don't understand why someone here try to compare this sony joke camera.

It is just INCOMPARABLE ! Come one !

The sony F5/F55 are far bigger, need to have an additional recorder for 4K (make them bigger again), don't shoot in 5K. Will be not upgradable.

Where is the HDR mode ? Hahaha.

Can I use Canon lens on the sony ? Nikon ? Leica ? Again, let me laugh !

Really, RED is far far better on many points.

The design of the EPIC/SCARLET is like a DSLR, this is just amazing to have this in the hand !

It is an amazing tool for the size.

Trust me, Red is still unbeatable on his territory. Even the Alexa is just incomparable, it is a 12 kilos camera again 2 kilos of the red epic !

The red epic is still a kind a miracle in the technology world.

Like the monochrome Epic, I am pretty sure that the dragon sensor will blow our minds and just move the other cameras away.
Click to expand...


HDR? Still lenses?

This is marketed to the pro arena..on real jobs I have never used still glass or HDR...dont think thats a deal breaker
 
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