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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 :)

Hasselblad vs RED Epic for stills.

Jarred Land said:
that one button marker is the way to do it. Thats getting closer and closer.


About the strobes.. We are finding more and more photographers are using HMI's... Profoto is even coming heavy into that market.. Briese has lived there for along time.

That said.. we do have the Xsync port on the handle.. someday that will actually do something.
Click to expand...

i think strobes will be around for a while- they are very powerful for the size. but, yes, I've been using constant sources more and more- its nice to actually see the light when you are working with it.

jarred, when the flash sync is working- what will that shutter speed be?

cheers paul
 
Doesn't look like the Master Macro (which would be major overkill for this quirky little test setting). A Scarlet with the Canon 100mm Macro would do the trick and have been way lighter and cheaper than what was used. Would have liked to seen an equal value Hassy used for the test.
Also would have used HMI's to eliminate the "lady in the box" confined work envelop he had and would have exposed the RED to the right. LED's just don't have the photon nuts to freeze action for fashion shoots and have to be on top of the talent to work.

For this shoot: use Scarlet/Canon and spend the rest of the budget on HMI lighting and a DP who knows how to use a RED.
 
Sorry for starting this dollar amount discussion :)

I have an Epic, RPP's and other stuff and know the cost of most of the items, including the $25K Arri prime lenses. I'm just curious what was $80K in the package that he said he was holding.

Maybe I'm just a stickler for accuracy, but $40K and $80K are a bit different.
 
Joseph S. said:
Sorry for starting this dollar amount discussion :)

I have an Epic, RPP's and other stuff and know the cost of most of the items, including the $25K Arri prime lenses. I'm just curious what was $80K in the package that he said he was holding.

Maybe I'm just a stickler for accuracy, but $40K and $80K are a bit different.
Click to expand...

I have a feeling it was an Epic M package plus the additional top plate, etc. Thats probably why he quotes so high.
http://www.red.com/store/products/epic-m-collection
 
i know it's been talked about, but unless you guys have come up with a seriously mind blowing way of utilizing the front stills/motion switch... is it too much to ask to just have it switch between stills/motion settings (as in, you customize your buttons/etc for each or any dual purpose). and i love the tagging feature, that will be so huge, and so simple.

but i do want to be able to press the button all the way down and capture a moment and i'm not going to apologize for that. there's a lot of physiological things going on when that button gets pressed, and that can't be helped at this point. it just feels so good :) kind of like pressing record... get it?
 
He's got a great point about going through all the thousands of images to grab the ones he likes. It's that feeling of having TOO MANY options and your head just blows up.

Just can't imagine what the future holds, given the capabilities we have with RED today.

I think because we CAN do it now, we just take it for granted.
 
paulherrin said:
i know it's been talked about, but unless you guys have come up with a seriously mind blowing way of utilizing the front stills/motion switch... is it too much to ask to just have it switch between stills/motion settings (as in, you customize your buttons/etc for each or any dual purpose). and i love the tagging feature, that will be so huge, and so simple.

but i do want to be able to press the button all the way down and capture a moment and i'm not going to apologize for that. there's a lot of physiological things going on when that button gets pressed, and that can't be helped at this point. it just feels so good :) kind of like pressing record... get it?
Click to expand...

You can already use the motion/stills switch to map as you please. Check out this cool use:
Use Motion/Stills Switch to Change Between Default Motion/Stills Settings
 
Yeah I have gone through hours of footage digging up stills... It takes forever. Not that it's not worth it, because it is. I plan on adding a 60mp Hassalblad to my repertoire at some point in time.
 
Red stills mode should not be using lossy compression or other sneaky noise reduction schemes .
I want to see all the noise I expect in the dark, for example.

When I compare a RAW file from a DSLR and a frame from r3d, I see the R3d lacking in dark details ( near black ).
The noise distribution is not as expected from a sensor. It mysteriously gets noise and detail free in the darkest darks.

Plain and simple, I get more detail from RAW processed DSLR images when compared to frames from compressed r3d's.
 
Les Dittert said:
Red stills mode should not be using lossy compression or other sneaky noise reduction schemes .
I want to see all the noise I expect in the dark, for example.

When I compare a RAW file from a DSLR and a frame from r3d, I see the R3d lacking in dark details ( near black ).
The noise distribution is not as expected from a sensor. It mysteriously gets noise and detail free in the darkest darks.

Plain and simple, I get more detail from RAW processed DSLR images when compared to frames from compressed r3d's.
Click to expand...


These are good points, but also where I see a big difference between Epic and R1...
 
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