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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 :)

No Excuses This Time...

Is it just me or haven't people been preaching this a looonoong time before the camera even was out.
 
Nick Morrison said:
Actually, now that I've looked at it CAREFULLY...I'm pretty sure its the 35 1.4. Am I correct? I know you use that a lot, as do I, and I'm thinking more and more that's the one....Lemme know!
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Yea Nick you nailed it. Although saying I used the 35 on a shoot is almost guaranteed. All 3 are with the 35mm.

I have also noticed the change in the play of the focal plane between the 35's. I still toss the 2.8 on from time to time. There is a shift going on. I just thought I was losing it.
 
Patrick O'Sullivan said:
Sitting there checking it out I was struck by a fact that I knew existed but hadn't actually been confronted with up until this point. These cameras don't allow for excuses. They remove the ever comfortable warmth (that 99.9% of shooters out there have and hide in the dark corner of their minds) of believing your talent exceeds your equipment.
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I've never found that any of the digital cameras out there add or subtract "warmth" or any other aspect that can't be fixed in post. I suspect all you need is good color-correction and good monitoring, but without seeing what you're seeing, I can't make a judgement.

I can say that, looking at the stills you posted, they look a little "thin" and flat, not enough contrast. But that's a subjective call, and a lot depends on monitor calibration.

I don't think the Red Epic is unforgiving at all, certainly no more than any digital pickup. But I think the new upgrade that adds another stop or so can only help improve dynamic range (which is already very good). The usual advice I give to DPs is to underexpose a little bit, watch the highlights in the histograms, and when in doubt, add more fill (and know we can darken it in post). This is on the assumption that you plan to color-correct later on.
 
Marc Wielage said:
I've never found that any of the digital cameras out there add or subtract "warmth" or any other aspect that can't be fixed in post. I suspect all you need is good color-correction and good monitoring, but without seeing what you're seeing, I can't make a judgement.
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Marc I think there was a mix up reading your last post. When I said "warmth" I was referring to the feeling not the footage. There is zero baked in the R3D files. It is a colorists dream come true.

As far as monitoring I've got the 24" FSI and the THX calibrated plasma showing me exactly what my footage looks like. I am a colorist by trade so the color palette represents the aesthetic I was going for.

The Epic/Scarlet is hands down the most forgiving camera I have ever seen.
That was my point in the original post.
If you can't get the shot with an Epic you can't get the shot period.
 
The video is nice to see, but I'm still wondering why you felt let down or dissapointed. I should like to see the whole piece some time. If it appears online, do let us know where to tune in.
 
I'll put up the whole thing as soon as I get the go ahead.

I was bummed out with the lack of ability to convey the idea I had in my head on screen in 60 seconds. My shot choices didn't work for the idea. You can't throw a different lens on at a different T stop in post (yet....just an idea Jim). You have to have the skills and experience to nail it when your chance comes along. I mean yes they worked in the sense that the client was satisfied but I could have done better. The point of the post was to point out that I could actually say that it was my fault and not the equipment, crew, or anything else everybody always blames. It is surprisingly refreshing to know you have the best of the best at your creative disposal.
 
One thing I've learned is that what you have in your head quite often doesn't make it onto the screen. I'm shooting my short film tomorrow and I've spent the last two months storyboarding and creating my shot list. I have every scene planned in detail in my head. Guaranteed I'll be disappointed with some of the results, or that some shots just don't work as well compared to what I had in my head. I think everyone experiences that, don't they?
 
Al Lougher said:
One thing I've learned is that what you have in your head quite often doesn't make it onto the screen. I'm shooting my short film tomorrow and I've spent the last two months storyboarding and creating my shot list. I have every scene planned in detail in my head. Guaranteed I'll be disappointed with some of the results, or that some shots just don't work as well compared to what I had in my head. I think everyone experiences that, don't they?
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Yes, and that's a good thing. It means that you still have the drive to excell. Without it I think I would take up painting, basket weaving or just about anything else.
 
Al Lougher said:
Haha. Sometimes I have to think if being a filmmaker is a blessing or a curse!
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I almost hate to state it but the problem isn't film making... It's a personality trait. Face it, you are driven to perfection and may never be happy in your own skin. Call 800-THERAPY. :-)
 
Scott Crawley said:
Yes, and that's a good thing. It means that you still have the drive to excell. Without it I think I would take up painting, basket weaving or just about anything else.
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if you're doing it well, painting and basking weaving takes just as much drive as filmmaking... ;)
 
Patrick - it really does have a nice feel. Yes, some of the shots could be more thoughtful and perhaps there are different ways of expressing what you are going for. It's subjective, imprecise, and thus: imperfect by our definition. When we define and strive for perfection as 'flawlessness' we set ourselves up for failure - that kind of thinking is unsustainable... I prefer the older definition as 'complete'. You completed the project, gained a new sense of awareness about visual storytelling, and the piece even has a nice feel to it (obviously your coloring is spot on, but even aside from that). In short, you've entered a new stage of growth. And I say that's perfect, if anything is.
 
It's been fun to learn my Scarlet, try things out as it's an entirely different way to shoot than with the other cameras I've used over the last 20+ years. My main use is corporate, so I have a little more latitude to play with everything on the field. There's quite a 'cool' factor with my clients in the fact that I'm shooting their projects on a 'digital cinema camera' and to them the images look amazing anyway. The biggest difference in shooting is that you think in terms of under and over exposure as opposed to dialing in the shot exactly how you want it, knowing you can effect the MD file in post. One thing I've found is that the white balance dials it in more blue that I like, making the look more sterile. I think that's just a preference though. Excited to see what more it can do as I put it through the paces, and of course learn even better lighting and workflow methods. Thanks to everyone for their informative posts. Much to glean from those that have gone before me.
 
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