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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 :)

Macgregor and crew, Salt Flats Utah

Nonono, i didn´t say i do not like them. I just said they are softer than other lenses like the ultraprimes. Of course, these are newer and much more expensive, so i still think the superspeeds are a very nice option if the budget is tight.

I usually work with the 50mm and the 85mm, and avoide the 18mm and the 35mm. Also i shot almost the whole last sequence with the RED 300mm, which might be strange for a drama, but certainly gives a different style.
And thanks everyone for your comments!
 
Fair enough. And your footage is certainly proof that they are a great option, budget constraints or otherwise. Though the beautiful handling of the exposures and the shear strength of your compositions and the art direction is what makes them stunning, regardless of the lens choice.

Look forward to seeing the finished project. Do you have a deadline you're working towards for the finished piece? Or do you have a little luxury? And thanks for the information regarding the focal lengths. Which portion are you referring to as the "last sequence"?

Cheers,
Todd


(edit: pm Brook)
 
Ironic that I was stuck behind this guy on the way to a gig today... I wish it was on a yellow hummer.

4konly2.jpg
 
Hey,
Any chance you could post some stills of the same shot at different ASAs? From what I can tell, the camera held all the highlights of the salt flats very well. If this was shot at ASA 320, I'd love to see what it looks like at ASA 100 so I can see how much detail is retained in the highlights. Though I'm assuming Red alert you can just change the ASA and it will pull information from the raw.

Did you find any of the camera controls cumbersome at all?
Thanks!
I appreciate all the work.

Sincerely,
Brian Harbauer
 
Matt Gettemeier said:
Ironic that I was stuck behind this guy on the way to a gig today... I wish it was on a yellow hummer.

4konly2.jpg
Click to expand...

Very nice... I like it.

BTW, Matt, you gotta get your Nikon checked out. It's doing this weird vertical streak around flares [the sun] that showed up in the JPEGs I got from you.
 
Brian Harbauer said:
Hey,
Any chance you could post some stills of the same shot at different ASAs? From what I can tell, the camera held all the highlights of the salt flats very well. If this was shot at ASA 320, I'd love to see what it looks like at ASA 100 so I can see how much detail is retained in the highlights. Though I'm assuming Red alert you can just change the ASA and it will pull information from the raw.
r
Click to expand...

There could be highlight info left in the RAW that will appear when you set the exposure or the ASA to a lower setting.
However, when the sensor clips, it clips. When you'd lower the ASA or exposure, the white area would just turn grey, no extra info in there.
In it's default setting Red Alert clips to white before the sensor does, so you will not see the sensor's total dynamic range by default!
On http://www.flickr.com/photo_zoom.gne?id=1455686545&size=o&context=set-72157602144698100 you can see that on set their Red Alert was set to default, and the blue channel is clipping in the histogram. This doesn't mean the blue channel actually clipped on the sensor, there could be info left in the RAW.

I'd like to have a setting that makes Red Alert show the lightlevels exactly the way the sensor got it. Graeme and I talked about that at IBC and he told me a setting that would do that, but I cannot remember exactly.
I think it was linear light, no matrix, iso 320, exposure -0.4 and black offset to 0. Something like that.

Some people tend to think of RAW as some kind of magic. It pulls stuff out of the image that wasn't there before...
RAW is just a way to record sensor data, and a very accurate way at that. When converting RAW to jpg or any other image type you also get to play with the curve and the levels etc. This doesn't mean you can extract more info out of the data than the sensor's put in there.
 
Aaron Marshall. Where can I find his music. It's wonderful.
 
Hi,

Thanks guys. I appreciate it. You can find my tunes at http://noct.us and http://myspace.com/noct My stuff is available on about any major digital music outlet like iTunes, Napster, eMusic, etc.

I stumbled onto this thread by googling "Macgregor Engagement RED" just so you know. I wasn't googling myself. hahaha

Macgregor sent me some clips a while back. I was/am floored. I am so inspired by this team. In the way I write music; the visuals they create drive me to new heights. In every form of visual art I practice like filmmaking, & photography; I strive to even approach these standards. The bar is set very high. That's so important in an artistic community.

Awesome work!
 
timurcivan said:
Hate to break it to everyone here.... Mac can shoot liek that on a DVX. that dude is camera agnostic.
Click to expand...

Hey Timur. Glad to see you here! Can't wait to see you get your hands on the RED. Maybe you'll come out to AZ and test when I get it.

J.
 
Crew

Crew

Could I ask for a breakdown of your crew? I see 9 crew, what roles was each performing?

Many Thanks,

John
 
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