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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 :)

Mike Seymour

Jason it's great what you say on the podcast about the gear now not getting in the way of creativity (and with no compromise in terms of resolution and frame rates).
After getting hands-on with the EPIC, that's what's got me really excited about the imminent future of film-making.
 
Hey Roberto
The show notes can be found in iTunes and downloaded along with the show audio.
You can even get them over the air to an iPhone straight into iBooks by clicking on 'Get more episodes'
If for some reason the notes dont show up in iTunes, it sometimes help to 'control click' on the podcast to update it
Cheers
Jas
 
Ha! Good point Robert.

Thanks Jason, about time I figured this out. :) And great job on the podcast. Painfully fitting to end it with the pain in your voice as you were getting separated from the new toy. Thank you again for all the podcasts. Looking forward to the next.
 
Podcast Follow Up Question:

Podcast Follow Up Question:

Great podcast (as always).

I had a question about the testing you did in the tunnels and parking garage- how did you guys determine the base exposure, and then the HDRx offset?

If / when you can, I'd love to see stills from that setup.

Oh, one last question- Mike mentioned that he found himself not picking up the 5D to shoot stills like he once did. I am wondering a couple of things about that:
1. Did the motion blur bother you for those stills? (Taking a 5k still from the recording of the Epic.)
2. Do you think that HDRx, track could be used as the "stills" track when needed? I know it is for DR, but as it is shooting a faster shutter speed, potentially, it could be used to pull a sharper image while shooting ...
 
They spoke about this in the podcast. Mike said he sometimes might use a 1/96 shutter for motion, which is close enough to his 1/125 he generally uses for stills.

Jason mentioned the idea of using the X track for it's faster shutter speed.

Ryan E. Walters said:
Great podcast (as always).

1. Did the motion blur bother you for those stills? (Taking a 5k still from the recording of the Epic.)
2. Do you think that HDRx™, track could be used as the "stills" track when needed? I know it is for DR, but as it is shooting a faster shutter speed, potentially, it could be used to pull a sharper image while shooting ...
Click to expand...
 
yeah

yeah

I am glad you guys picked up on the not picking up the stills camera remark.

I should add that with the gyro on a wide lens like an 8R - there is not much motion blur.

The key is that the video on the 5D - is not enough for me to pull a still.. and its not RAW. On EPIC - it is High res, RAW and by definition nearly always in the best spot.

Here is a frame from a clip we shot, why do I need a stills camera again?

A017_C006.jpg

Mike
 

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Good to know. :)

So what about the exposure settings for the tunnel / parking garage shots- how was that determined for the base and the HDRx settings? Any tips thoughts you can share?
 
....wait for the whites of their eyes..

....wait for the whites of their eyes..

Ryan E. Walters said:
Good to know. :)

So what about the exposure settings for the tunnel / parking garage shots- how was that determined for the base and the HDRx™™ settings? Any tips thoughts you can share?
Click to expand...

Ryan,

All will be shared thanks to the generosity of Mike Seymour and the FXGuide team. Details will be posted in the next few days along with the actual clip. I am keen as you to see it especially Jason's Parking lot scene with the just crazy hot highlights.
 
Here is another from our model shoot
eyes-down.jpg
 
Tom Gleeson said:
Ryan,

All will be shared thanks to the generosity of Mike Seymour and the FXGuide team. Details will be posted in the next few days along with the actual clip. I am keen as you to see it especially Jason's Parking lot scene with the just crazy hot highlights.
Click to expand...

Brilliant- thanks for the heads up Tom. Glad to see you on the boards, and that you are teaching more classes at FXPHD. :)
 
Mike Seymour said:
... why do I need a stills camera again?

A017_C006.jpg

Mike
Click to expand...

I think in many case you'll be right, but 72dpi ain't that big.

The thing that excites me (assuming that Epic in stills mode doesn't do 300dpi) is that I'll just need to have a stills body in the bag for the really high rez stuff and, with a Canon or Nikon mount on the Epic, just chuck a lens on and shoot. No need for a whole other kit.

And that's assuming the above - not a sure thing at this stage. I mean, Jim's busy building the camera without the, "If it only had ..." clause.
 
Shane Betts said:
I think in many case you'll be right, but 72dpi ain't that big.

The thing that excites me (assuming that Epic in stills mode doesn't do 300dpi) is that I'll just need to have a stills body in the bag for the really high rez stuff and, with a Canon or Nikon mount on the Epic, just chuck a lens on and shoot. No need for a whole other kit.

And that's assuming the above - not a sure thing at this stage. I mean, Jim's busy building the camera without the, "If it only had ..." clause.
Click to expand...

5120x2700 is 71.11" x 37.5" @ 72dpi. That is the same as 17.06" x 9" @ 300dpi.

Jim
 
... 5120 x 2700 pixels = 13.8 megapixels which is similar to "last generation" high end 35mm format dSLRs, and "last but one" generation medium format backs. Plenty enough for reproduction in books and magazines (especially for double page spreads with the wider sensor aspect ratio). I've had published magazine covers with similar pixel counts.

It doesn't really compete with current generation medium format backs (which start at around 40 megapixels and go up to 80 megapixels) but for a great number of uses it will do just fine.

Reading it out fast enough to pull RAW-like information off the sensor and onto card at movie-style frame rates is a massive, massive achievement. My Hassleblad medium format back manages about one frame per second! Everything is a slave to that data rate and the sacrificed colour science, even more than the resolution, is the thing which has limited the use of video cameras for stills for the most part. Great to see that RED may have that licked.

Of course, as dSLR video shooters have found, the ergonomic requirements of shooting stills and shooting movies are different. It is handy to have the option of doing both in a single camera, but probably you'll end up wanting a dedicated stills camera as well just for ergonomic reasons (a 5DII with L-series zoom won't break the bank or your gear bags).

I'm looking forward to the release of EPIC-S!

Cheers, Hywel
 
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