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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 :)

Lens Control

I personally don't see a red being the best choice for fast paced doco stuff. It just does not seem like the best tool for that job. For me it would be like driving a ferrari in a 50km/hr city. You will get lots of looks it will be kind of fun but a toyota would be a lot more comfortable and easier to get the job done.
 
Finner said:
I personally don't see a red being the best choice for fast paced doco stuff. It just does not seem like the best tool for that job. For me it would be like driving a ferrari in a 50km/hr city. You will get lots of looks it will be kind of fun but a toyota would be a lot more comfortable and easier to get the job done.
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Oh! I'm so bored with the old Toyota!!! I want to hit the highway in a shiny new machine that goes at 4K :-)

P.S. They won't allow me into the cark park at the cinema-doco club in a Toyota. The concierge says I'll have to leave it on the street.
 
I have given some thought lately to deeper depth of field for the run and gun corporate shots. I think running with a wide lens like the 17-35 and setting the camera at a very high asa setting will allow me to set the lens at a t-16 or so which should help a lot.

Anyones thoughts on if they feel this would be a bad idea and why would be helpful.
 
Finner,

I'm sure you know that stopping that lens down to f16 you are in the zone of diffraction limitation.

Chuck
 
Finner said:
I have given some thought lately to deeper depth of field for the run and gun corporate shots. I think running with a wide lens like the 17-35 and setting the camera at a very high asa setting will allow me to set the lens at a t-16 or so which should help a lot.

Anyones thoughts on if they feel this would be a bad idea and why would be helpful.
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Versatility is the thing I'm after Finner. I need a lens that offers fast control for spur-of-moment "unscripted" events, but I'd also like the shallow DOF look for set-up shots. Obviously they can help give a doco a classy look that's beyond the scope of most 2/3" HD cameras.

The reason I keep persisting with my hope of finding a RED solution is that it's been written about as "flexible and powerful enough for everybody from the high-end filmmaker, to, believe it or not, the wedding videographer" (that was in Broadcast News just last week; 'RED Digital Cinema: A Pre-NAB 2007 Update').

I've been making docos for the like of Discovery Channel for quite a few years, and I'm used to a standard that's far above the average "wedding videographer", but I'm currently trying to raise a budget for an independent cinema doco (with "risky" & controversial content) , and that keeps me out of the "high-end filmmaker" arena.

I hoped RED would be the solution to getting the best of both worlds! It's way cheaper than any Ferrari, outperforms any Toyota (and most Lamborghinis & Maseratis)... but I'd just like the option of a semi-automatic gearbox, that's all.
 
ya chuck I know I would be loseing the sweet spot of the lens but even if I only went t-8 I believe it would help a lot to get more focus for the shot if needed.
 
Brainstorm check out the abakus site, they offer a converter of HD lenses to 35mm. This would get you the dof you want in a lens you could actually hand hold. It's a little spendy at 4K but if you are shooting Disc. etc then you have the day rate to afford it.
 
tj williams said:
Brainstorm check out the abakus site, they offer a converter of HD lenses to 35mm. This would get you the dof you want in a lens you could actually hand hold. It's a little spendy at 4K but if you are shooting Disc. etc then you have the day rate to afford it.
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Thanks TJ. I've already looked at the Abakus site. By the time you add the adapter to a regular and a wide 2/3" HD Lens plus camera, cage, back-up drives, high speed on-the-road-laptop (etc, etc, etc!), it's all starting to become a bit expensive.

I'm trying to work out how to put together a "high performance" kit to shoot an independent cinema doco on a tight budget (not another Discovery doco)... and all these extra elements are pushing my dream of shooting 4K (or even 2K for that matter) over the horizon!
 
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