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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

Ryan E. Walters said:
Thanks for sharing- that is impressive!

In terms of grading- once it has gone through RCX, are you going to ProRes, DPX, ... I assume that once out of the one light in RCX the files can then be handled as normal and secondaries could be used (if needed) in a standard grading app. (Assuming that it supports 5k that is.)

Also, any news on Storm supporting HDRx™ that you can share?
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I cant talk for RED or the Foundry (did I mention Bill Collis (head of the foundry directed this? ;-) BUT ...
At the moment these clips are being fully graded by us in RCX - We are also exporting 4:4:4 ProRes and DPX for grading - but most of these are being graded in RCX - which I personally never planned but with 5K - HDRx and a Red Rocket - RCX is pretty sweet right now compared to anything else.

Yes you are right we could do only a one pass - but for now - on this stuff we just are not doing that.

Mike
 
Thanks for the info- that is impressive!
 
Mike, Jim mentioned that you had done tests to simulate the Alexa look, and found that a 1/2 low contrast filter was almost a perfect match. Is that so?
What brand or specific filter was it? (did you set it behind the lens?) I'd like to be able to replicate.
 
The very talented Jason Wingrove has just posted his latest short in his Sea Pool series.
It is called Curl Curl and is shot on the EPIC - nearly entirely at 120fps or 96 fps.

The piece is moody and stormy and I think wonderful. Interestingly it was very much a RedCineX project, with the rushes from RCX, then edited in FCP - conformed in RCX and graded and reframed in RCX, (with just some final tweaks - such as fade ups done after final export).
Lens were a wide range of Ultra primes and converted stills lens - including an 8mm which was chosen for its extreme fisheye curvature.

http://vimeo.com/channels/wingrove#21215828

I would recommend you have a look if you like 120fps 5K EPIC shots !!!
seapool.png
 
Terry VerHaar said:
Cool piece. Fun music; voice sounds familiar but can't place it. Who is it?
Click to expand...
Swimming Song by Loudon Wainwright. Really nice. 120fps gives you a lot of time to watch things that normally pass by. It sure has its own special mood between all the other pieces.
 
Thanks for sharing the video. Love the waves hitting the leading edge of the pool, and the shot at 1:22 is gorgeous.

Where is this pool? I need to swim in it.
 
I suddenly hate the RED Camera.


Yeah it surprised me too... but I just had to shoot with the Red One and to my shock and horror I hated it... The EPIC has ruined it for me.
I could not get over how hard it was to load a drive/magazine vs loading the Epic's SSD... the PL mount, the back menus, the buttons - the size of it... the lack of high res high speed - the weight ... OMG the EPIC is so much better but only when you go back does it hit you... it is alarming how my 'normal clock' reset to the the EPIC being normal and the Red One - my much beloved #22,- seems like a boat anchor. Nothing wrong with it on paper - heck it even has the same sensor but it SEEMS like a 10 year old camera...
Sniff sniff

Mike
 
Mike Seymour said:
Here is another behind the scenes video

http://vimeo.com/20804436

Thanks to my friend Stu on his 16mm-35mm from the co-pilot seat.

Mike

PS
The reason I did not fall out is that John was bracing me from off screen camera right.
Click to expand...

If you have Stu shooting Epic have him ping me and I will hook him up with something he will like. He should know how to get hold of me.

Cheers

Dave
 
Mike Seymour said:
Anthony
it was on 1/96th - 48 fps, fully open with a variable ND on the 11-16mm (my new fave lens for mobile work) ISO 800, HDRx™ 3 stops.

Mike
Click to expand...

Mike are you using the Duclose lens?
 
Aaron Bernakevitch said:
Mike are you using the Duclose lens?
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so for the harbour bridge stuff yes... it is wide, light weight and easy to use.
For the Sea Pool - no - we used ultra primes mainly

mike
 
Amazing latitude.. Like the fact that it is not too HDR looking ( in the sense meaning an HDR photo).. Looks straight out of a movie.
 
Mike Seymour said:
The very talented Jason Wingrove has just posted his latest short in his Sea Pool series.
It is called Curl Curl and is shot on the EPIC - nearly entirely at 120fps or 96 fps.

The piece is moody and stormy and I think wonderful. Interestingly it was very much a RedCineX project, with the rushes from RCX, then edited in FCP - conformed in RCX and graded and reframed in RCX, (with just some final tweaks - such as fade ups done after final export).
Lens were a wide range of Ultra primes and converted stills lens - including an 8mm which was chosen for its extreme fisheye curvature.

http://vimeo.com/channels/wingrove#21215828

I would recommend you have a look if you like 120fps 5K EPIC shots !!!
seapool.png
Click to expand...

That pool is 500 meters from my house. Spent many a hot day with the kids down there. All the pools along the Sydney coast line were built during the depression by the state govt as a way to create jobs and keep people employed. They're old but still very useful!
 
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