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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 :)

Getty Images....

Not acting as spoiler.
Just checking if this is our big guy!
Amazing new technology.
Check their site out.
Lytro!
Lytro on June 22, 2011 at 2:11 pm said:

Thanks Jared – will keep both your initial and follow up posts “un-public.”
 
Looks good for a frame grab, but cannot compete with a good DSLR RAW IMHO (for reasonably big prints)
now for that EPIC 645/dragoon ...
 
Excellent, excellent interview! Some excerpts that intrigued me the most:

His response sent shudders down my spine. He said very bluntly, in a German accent, “We want to take your still jobs away from you, just like you want to take our video jobs away from us with your HD SLRs.”

Editing is going to become one of the most important, sought after skill sets in the next five to 10 years. I think we’re going to see such an incredible amount of data coming in, to the likes of which we’ve never seen before that editors are going to become one of the most important job positions out there.

Exciting times.
 
Matthias Hutter said:
Looks good for a frame grab, but cannot compete with a good DSLR RAW IMHO (for reasonably big prints)
now for that EPIC 645/dragoon ...
Click to expand...

Matthias, if you had seen the Large prints Jarred showed me at RED STUDIOS you changed you mind, very quickly.. ;)

But if you are in Switzerland while we have our Gallery event, you can stop by in Rome to see for your self, no need to bring 3D glasses, those we provide too... ;)
 
Could someone give a little more detail about the strict standards from Getty images? This is a really interesting story...
 
Are these frame grabs from regular footage with 180 shutter or are they set up for a still shoot with super fast shutter speeds?

Thanks
 
Matthias Hutter said:
Looks good for a frame grab, but cannot compete with a good DSLR RAW IMHO (for reasonably big prints)
now for that EPIC 645/dragoon ...
Click to expand...

Keep in mind that DSLR cameras use sharpness by default. When you set sharpness to 0 in "camera raw" you will see that stills from DSLR becomes softer. I will compare EPIC-M to 7D next week and take a look at comparison frames on my 15 feet projection.
 
We're the ones that passed the Getty test!

We're the ones that passed the Getty test!

Hey Jared. I just wanted to introduce myself. I'm Karen DSilva from www.flymotionmedia.com and the author of the Getty post from Vincent La Foret's interview. We were the ones that took the still captures from our shoot to Getty. A little history on why our meeting with Getty was so significant. Up until our meeting with them on June 9th 2011, Getty didn't believe that the stills produced from motion had a high enough resolution to sell in a Right's Managed still's collection. For years, everyone in the stock world has been watching in anticipation for the moment when a motion camera could successfully shoot stills and video simultaneously, producing a still image that is 47-51MB 300ppi. Why 47-51MB 300ppi? It's the worldwide standard established by the Stock leader - Getty Images. FLYMotionMedia is the first and only company to pass this Getty standard. Just to be clear, it wasn't easy to produce an image at this caliber. Our team: cinematographer and software engineer, Ian Bloom along with Creative Directors Catherine Camille Cushman and Stephen Blaise worked hard to create a process that gave us the optimal results to challenge Getty's still submission requirements. The resolution and bit depth offered only by the Red Epic camera was the final key needed to crack the code and pass Getty's high imaging standards but it's not the only factor; we've developed a proprietary post production software pipeline that allows us to efficiently shoot stills that meet these high standards simultaneously with motion that can be used in standard video production. And lastly, yet equally as critical, on the back end we had digital stills expert, Antonio Rosario, prepare the final files.

One final note, FLYMotionMedia - is a new company (pre-lauch), and the first of its kind to produce mixed media content for online communications. We have been working for more than a year to learn about the technology, testing not only the cameras and lenses but also the technical requirements to be able to produce great film and stills to be used for any purpose. We believe we have cracked the code and LOVE the EPIC. We will be launching soon so stay tuned!
 
I shoot motion and stills for Getty as well, but have not yet had the chance to use the Epic. I have pulled pretty good stills from the R1, but they are not on par with a DSLR. It's good to hear that Epic is close enough ( I'm sure how it's used is critical) . Still, a high end stills camera is a better tool for getting for photos, particularly verticals, than the Red. I like to have both film and stills cameras on set, with two operators. But if the Red Epic is all you have, then it's great to know you can get the stills you need.
 
Welcome to Reduser Karen - thanks for sharing the background to the story! :smile:
 
FWIW, I shoot motion and stills for Getty and several of my RED One screen grabs have passed their QC. They are, however, not quite up there with a DSLR and require pretty extensive post-prod. Haven't had a chance to work with an EPIC - yet! - but looking fwd to it very much.
 
Thanks Karen, great info and love the little plug :)
 
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