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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 :)

LEO @ ISO 2000

Jarred Land said:
ISO 2000, Shot by David Fincher and Jeff Cronenweth on a M-X upgraded R1.

No Noise Reduction...

http://red.cachefly.net/LEO.mov ( right click and save as )

leo.jpg


700mb PRORES. Thanks to Cioni for the finish.
Click to expand...

Asolute gorgeous, dreamlike, wonderful, perfect
 
amazing!!! I will show each single Chinese cinematographer when they come to our rental house, tell them how cool is the M-X sensor!!!
 
Rob Ruffo said:
This is unlikely - target markets dictate compromises in quality control and most especially optics, along with other things. For example, the Gh1 has a crappy codec because most people use it for birthday videos, and then edit on crappy "EZ-Edit" software, and if the data rate were too high they would complain that they have to buy too many compact-flash cards or that their hard drives fill up too quickly. Joe Six-Pack doesn't notice mud and macroblocking, he just notices how cute his kids look. This is fair enough. He has just as much right to have a camera that suits his needs as we do. I mean, we've spent $400 a day on hard drives for our Red shoots (those were big days, but still, a bit rich for soccer-moms.) Would Hoochie Mamas ever use the adjustments available in Raw format?

Sure data costs will go down, but there will always be other choices adapted to mass-markets or "prosumer" markets that we would not want.

My aunt would not want to take pictures with my 5D - too heavy, too complicated. If the 5D cost the same as her purse-sized snappy-cam, she would still prefer the fully automatic snappy-cam, and it is physically impossible to get great results from a camera below a certain size and weight, for reasons having to do with physics and light.

Cine lenses have mechanics and weight that would be non-optimal for stills photography, so we will always need to buy "specily act" cine lenses to get the very best results.

As such, pro cams will always be directed to a small niche market, and they will always cost at LEAST what Red costs, otherwise R&D could never be recouped.

Proof of how weird certain niches are is the fact that a PMW 350 costs MORE than a RED, despite being only 2/3rds and recording (at aleast without another 3K for a Nanoflash) to highly compressed 8 bit XDcamEx format. For me, this makes it a ridiculously inferior camera, that should cost 25% of what Red does.

But... People nonetheless buy it because it is somewhere in the middle between point-and-shoot and the level of knowledge, prep and post needed for Red, which we could call 'full-on cinematography'.

Many event videographers are not really cinematographers - some I know have not finished high school, let alone gone to film school or apprenticed with a master. I was recently at a cocktail party, was bored and decided to chat with the guy paid to cover the event.

I discovered that he didn't even know what "gamma" meant. He said all that "nerdy stuff" wasn't important. "you learn with your hands, on teh job" he told me with a smug grin as I watched him shooting crushed blacks and clipped highlights.

The initial qualifications of guys like this were the fact that they owned a semi-decent HD cam, and were stong enough to carry it around all day. For them doing things like pulling focus, chosing lenses, etc. would be just "too much hassle". For them the "best" easy to use, single-lens cam they can pop on their shoulder to film the bride or the corporate presentation is the most exciting option.

So... All this to say, there will never be all that many of us, with our particular needs. Low production run numbers for tools targeted to us will mean that they might get a bit cheaper, but not by much.
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All very good points and true. I purchased a used Schneider lens from the only wedding shooter I ever met that I would call a cinematographer. He shoots high end social events and weddings on S16 film for HD finish and does take his art and craft seriously. Rare indeed.
I shot 16mm for video finish in the '70s and early '80s mostly. I was serious about my craft too, and just as much so when I shifted to video. But I am continually amazed and truly humbled by the meticulous art and craftsmanship exhibited by many of the pros in this community and by how much the profession has progressed in 40 years. The above shot of Leo, simple though it seems, is outstanding for more than just the performance of an exceptional camera.
 
Great light.

You guys are doing amazing things.

Using 2000asa as a noise free reference:

Is it possible to shoot at 320 asa for highlights and pull the other 3 or so stops out of the shadows to get an extra three stops of dynamic range or am i just being ignorant and missing something totally?
 
Saw this projected in 4k yesterday on a 40 foot screen, second row. Absolutely unbelievable! I looks around the shot looking for any hint of noise, dancing pixels or anything other than pristine image. There was nothing there other that wasn't perfect.

The MX is real, and the game has changed once again!
 
David Rasberry said:
All very good points and true. I purchased a used Schneider lens from the only wedding shooter I ever met that I would call a cinematographer. He shoots high end social events and weddings on S16 film for HD finish and does take his art and craft seriously. Rare indeed.
I shot 16mm for video finish in the '70s and early '80s mostly. I was serious about my craft too, and just as much so when I shifted to video. But I am continually amazed and truly humbled by the meticulous art and craftsmanship exhibited by many of the pros in this community and by how much the profession has progressed in 40 years. The above shot of Leo, simple though it seems, is outstanding for more than just the performance of an exceptional camera.
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There is great talent out there, in all corners of the media production business, high and low. I agree with you. I did not wish to disparage all event shooters, just to say that those who truly appreciate and can use fine quality over performance-compromised simplicity are rare and always will be, so the tools needed for such an approach will always be small production run. Just like Mp3 is more popular than SACD...
 
WOW. This is really kick a$$! If The Academy doesn't get with it and bless you guys with some much deserved recognition I am going to start losing confidence in them. I am interested to know what lights were used? I am guessing a 10K at the top of the stairs and a 5K downstairs.
 
Jim, and all of the Red Team,

Tremendous accomplishment, really great image in both shadow and highlight in the Leo footage. Jim, you said it in the 3rd Session Saturday, paraphrased here. . ."there are more than enough technical issues to resolve in order to get to market". The Academy, ACS, etc, etc will come around in time. Please stay focused, you guys are really making history and changing ideology and leadership is never easy. The world, much less the industry, will be on your doorstep in due time.

Little guys like me/us need you to be successful in your endeavors so we can continue the dreams of aspiring cinematographers. The tools used in an industry will be of no benefit to an industry if a large percentage of creative individuals interested in the industry can't afford to own them. IMHO

We applaude your accomplishments to date and those to come, Thanks.

Wayne Beck
3B Digital Studios
 
amazing. now we just need an affordable 4k monitor/projection solution to go along with Red cameras at the same price range:-)
 
In Sweden, advertising children toys on TV is forbidden. Publishing such things on Reduser is not fair. Once you've seen it, you need it. Oh no! I had felt so fulfilled with the original sensor... I guess now we really have something to look forward to.
 
Alex Kiritz said:
Should be able to make one with HP Pluribus software and a few 1080p projectors.
http://www.hpl.hp.com/news/2007/apr-jun/pluribus.html

Not sure where the download is though.
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Windowing and tiling processors have allowed us to do seamless matched multi-projector setups for quite a few years. I install setups like this in command and control environments where your screen resolution is the summed value of the installed projectors less a 5% to 15% overlap region at the borders.

Maybe the HP approach will make this cheaper, but you can buy some of the low end 4k projectors for less than this approach typically costs.
 
What we need is an Epson home 4K projector announcement...

Jim
 
Well, Epson's already developed the 4K TFT panels for something like this; they announced it about 6 months ago, if I recall. An announcement about a real projector made from this tech would be pretty awesome, though.
 
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