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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 :)

Pretty easy to understand...

Seriously. If you cannot tell the difference between 7d/5d and Epic footage, even over the net on a decent Vimeo or YouTube HD stream, you need glasses. We run ten Crews that shoot 5ds every day. The diff is night and day. Obviously. You don't own a RED.
 
Brett Clements said:
You need to get a decent monitor
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Hahahahaha!

Dunno how to comment to that...
I can only say that I don't really have that problem, but working in and overseeing/managing the signal on productions with 100+ shootingdays (mostly on R1s and Epics these days. And the discussion is what we are to replace the 30+ 7ds and 5ds hanging around with and why) in an environment with some 3000 FCP lisences, gives you some realitycheck as to what "people" think and do with images...

But we do have decent monitoring, I can assure you... :)

Even got a couple of masters and angies and other fun stuff laying around...
 
The reason 2k, 4k, 5k and beyond become possible underwater was because of the RED Epic exchangable mount system. If not for that even IMAX cameras struggle to resolve more than 300 lines (150 line pairs) per picture height in the corners. The reason is: they are "stuck" to land lenses which, after placing them behind a flat or dome port, perform poorly. It was the RED Epic's exchangable mount that made it possible to use specialised submersible lenses that are designed to work without a port and resolve the sensor up to the Nyquist frequency corner-to-corner.

In other words, on land RED made a revolution going from HD to 4k. But, underwater pictures went from less than standard definition to 4k and beyond - thanks to RED.

Now, with the Dragon sensor the submersible lenses will benefit accordingly while housed land lens solutions will suffer even further as plane curvature and chromatic aberrations increase with the sensor size!

It goes to show how one feature (exchangable mount) made an order of a magnitude increase in sharpness of underwater cinematography.

Bring it on :beer:
 
I guess the guy thought, you were the original poster, about the nicer footage. I guess he skipped a few pages.


Gunleik Groven said:
Hahahahaha!

Dunno how to comment to that...
I can only say that I don't really have that problem, but working in and overseeing/managing the signal on productions with 100+ shootingdays (mostly on R1s and Epics these days. And the discussion is what we are to replace the 30+ 7ds and 5ds hanging around with and why) in an environment with some 3000 FCP lisences, gives you some realitycheck as to what "people" think and do with images...

But we do have decent monitoring, I can assure you... :)

Even got a couple of masters and angies and other fun stuff laying around...
Click to expand...
 
My biggest problem with some of the other camera companies is that they are engaged in Corporate Espionage...

Against their customers - the very people they should be serving.

Thanks for Listening to your heart and to people who need cameras that aren't crippled intentionally, Jim and Jarred.

And thanks for Making them here in California, less than 100 miles from where I grew up.

I chose Red because I was tired with another manufacturer intentionally preventing me from having a few basic things I need, and I like the pictures it makes, and I stayed Red because I like the imaging philosophy.
 
Very salient about what Jim said -oversampling is better than uprezzing.

This is absolutely true and one of the reasons Jim made the Epic 5K -so one has wiggle room to get the most out of a given image and output at 4K. This is so useful for any number of reasons. And RAW, seriously, if anyone has bothered to immediately access a clip on set...one can generate gorgeous shots from RCXPro within a couple of minutes after doing the data backup. So I find it either sad or funny when people say it's so hard, or you have to do so much to Red footage before you can have it...presets exist (and let's face it RCXPro is now at a stage where it's exceedingly simple to have an optimal starting point), and as long as you've got drives to render to a one-light pass it's almost immediately available to drop into your Avid or FCP and start editing.

With an imminent announcement about Dragon this only reinforces Jim's comment. While only Jim & co. know what Dragon will be, it's probably going to be at least 8K so we will have so much more 'fat data' with which to manipulate and bring down to 4K. You think watching 4 or 5K looks badass, just wait and see what the extra resolution is going to do for our images.

Again, thanks for pushing Jim & co.
 
A no-brainer. You forgot to mention your packaging is nicer...hehe.

RED, thanks for existing.
 
to be forwarded...

to be forwarded...

Jannard said:
A company that listens seems better than a company that dictates.

Jim
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You are a truly special man, dude! Thanks for posting.


Cheers from Adriatic,

Emanuel :-)
 
I think alot of people that think 1080 P is good enough that are going to NAB this year will see what 4k looks like vs 1080P on the new displays and learn what it means to shoot in 4k/5k
 
I believe there are other factors in this whole equation...Please allow me to preface that I am a self proclaimed fanboy of a system that comes outa the box ready to shoot feature quality. That stated, a huge
part of anything on this planet is publicity, branding, and marketing. Lets take for example my friend Chris Probst...shot a feature last year and Sony decides to let it swim on its own without the marketing it needs...sorry Chris I hope it finds its legs as i know the effort you put towards it. My point is, RED has a badboy brand/marketing,and Arri has more the german geektech feel, Sony,branded quality way back when it was making walkmans. Producers
tend to hate cool,badboy...i suggest that if the marketing would have been different the market would be different, RED would be the undisputed camera system and Arri,Sony,would have gone the
way of Dalsa by now. The Producers alot of times dont care what happens to the project once the turn in their actualized budget, as long as they came in at or below they will work again, and so future proofing
is more a DP,Director thing, I guess...

Anyway, I think the thread has been gone over to death. I suggest we all just pickup our weapon (camera) of choice and make shit that matters even just a little...
 
The biggest and best blockbuster films being shot today are being shot on RED. There are valid reasons for that.
The fact that I can use, or even own, the very same tools and workflow for my projects still amazes me.
Thank you again, Mr. J., for putting up with us.
 
Not to mention how the RED has transformed both the motion and stills industry. For someone who has done both for 5+ years I can say the a real revolution has taken place. Every set Im on has both motion ans stills. Every set Im on that is worth anything has a Red. From a marketing standpoint Red has done so much. I dont know any clients out there that do not get excited about it. Its up to us to live up the the cameras capabilities. We need to represent what it can do by killing it on every shoot. I am producing and shooting a short film, and two feature docs this year on the Scarlet/Epic. I will shoot every commercial gig on these cameras. Since committing to Red I have learned so much. Im very grateful.

Thanks Jim.
 
Jack Shanahan said:
Not to mention how the RED has transformed both the motion and stills industry. For someone who has done both for 5+ years I can say the a real revolution has taken place. Every set Im on has both motion ans stills. Every set Im on that is worth anything has a Red. From a marketing standpoint Red has done so much. I dont know any clients out there that do not get excited about it. Its up to us to live up the the cameras capabilities. We need to represent what it can do by killing it on every shoot. I am producing and shooting a short film, and two feature docs this year on the Scarlet/Epic. I will shoot every commercial gig on these cameras. Since committing to Red I have learned so much. Im very grateful.

Thanks Jim.
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doing my part...; )
 
yes sir, thanks for letting us know where your thoughts are... who else does that?
 
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