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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 :)

RED narrative production issues- R&D priorities!

Josch said:
Well, as somebody who plans to shoot classical concerts, he has me worried.

Jochen
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Don't be!!

I am a former musician, music teacher, and someone who still owns a 32 track music recording system. And........

My RED camera when in record mode is the quietest camera I've ever used.

This thread serves as a example of what can happen when one persons opinion or experience is givin Way to much weight.

I resisted replying to this thread because I don't like to participate in discussions with new posters who seem angry and haven't done there homework....

May I suggest we all move on.
 
Sam Druckerman said:
I am a former musician, music teacher, and someone who still owns a 32 track music recording system. And........

My RED camera when in record mode is the quietest camera I've ever used.
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Sam, thanks for putting us at ease!

Sam Druckerman said:
This thread serves as a example of what can happen when one persons opinion or experience is givin Way to much weight.

I resisted replying to this thread because I don't like to participate in discussions with new posters who seem angry and haven't done there homework....

May I suggest we all move on.
Click to expand...

Wise words! :watsup:
 
Sam, is it quieter than those Firestore drives on P2 shoots? Some of those have been unacceptable when the camera is within 5-10 feet of the microphone. I define quiet as being able to interview someone who is soft spoken and never hear the camera, drives, or any of it. If I'm able to gain up to get the interview and the camera or drives stay far down in the noise floor, then I'm happy. Sounds like that is the case with the Red and that is good to know. My only question for you guys with cameras:

Have you been doing a lot of audio recording? At this point, the only way is via double system. I do wonder about the people who are planning on putting a mic on top of their Red. Wonder how much noise will be picked up. I was hoping to see some sound tests come out of LART but not sure that is going to happen.

Anyway, thanks for the reports guys. If Morpheus is being straight with us (and I have no evidence he isn't, so I'll just assume he is) then some of his views are interesting, in particular the noise issue and lens critique. But they don't seem to match the comments by a lot of other people with cameras. Hmmm...

Steve
 
we have done 4 jobs where sound was very important.

we used a deneke tri-sync box attached to the camera and plugged into the timecode port via a 5 pin lemo.

there were professional sound mixers on set and they never complained about the camera level.

one set of spots (8) were for a toyota dealership and it was all testimonials, so the whole shoot was very audio intensive.

another 20 spots we did for FX network featuring tangueray also with the same sound mixer all had important tag lines which were in most cases more important than the visuals. again no problem with the fan noise or camera.

in my experience a professional set with 30+ crew members and lots of lights and other gear tends to have a sound level around that of a low rumble, even when everyone is perfectly quiet.

that said, i have not shot a two man crew interview documentary style in a small 10 x 10 room, in that case there may be some issues, but then again, i test the camera often in my home office and when the camera shoots it goes very quiet...

maybe i will take out a sound mixer and put a mic on the camera and see what the levels are coming off the camera...give me a couple of days as the holidays and company will keep me from sequestering myself for such an endeavor.
 
The Third Man said:
But I would not forget it.

Still exists a perfect glass that is not commercially rehoused in cine lenes.

LEICA-R set of primes:


Wide angle lenses:

15 mm 1:2,8 LEICA SUPER-ELMARIT-R 15 mm f/2.8 ASPH.
19 mm 1:2,8 LEICA ELMARIT-R 19 mm f/2.8
28 mm 1:2,8 LEICA ELMARIT-R 28 mm f/2.8
28 mm 1:2,8 LEICA PC-SUPER-ANGULON-R 28 mm f/2.8
35 mm 1:1,4 LEICA SUMMILUX-R 35 mm f/1.4
35 mm 1:2 LEICA SUMMICRON-R 35 mm f/2

Standard lenses:

50 mm 1:1,4 LEICA SUMMILUX-R 50 mm f/1.4
50 mm 1:2 LEICA SUMMICRON-R 50 mm f/2

Telephoto lenses:

80 mm 1:1,4 LEICA SUMMILUX-R 80 mm f/1.4
90 mm 1:2 LEICA APO-SUMMICRON-R 90 mm f/2 ASPH.
180 mm 1:2 LEICA APO-SUMMICRON-R 180 mm f/2
180 mm 1:2,8 LEICA APO-ELMARIT-R 180 mm f/2.8
280 mm 1:4 LEICA APO-TELYT-R 280 mm f/4

Macro lenses:

60 mm 1:2,8 LEICA MACRO-ELMARIT-R 60 mm f/2.8
100 mm 1:2,8 LEICA APO-MACRO-ELMARIT-R 100 mm f/2.8

Suprer telephoto lensess:

280-800 mm 1:5,9 LEICA APO-TELYT-R Module System

------------------------------------

Somebody would add that Panavision already did rehousing Leica for the Primo-L lens series.

That's true but they did it with ELCAN (Ernst Leitz Canada) and also no piece of Panavision equipment is for sale.

But there are still Leica Camera AG in Solms, Germany and Leica Cinema GmbH in Zürich, Switzerland.

So if RED is looking for a better glass in the future LEICA is the best way to go.
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Sanjin,

In Holland there is a set of rehoused Leica lenses for rent, but apparently nobody rents them because people think they are to harsh. It consists of a 15/19/24/35/50/75/100 macro and 135. They were rehoused by Vandiemen optics when he was still active. Nice mechanics though.....
Maybe you should make them an offer....
 
Mick van Rossum said:
Sanjin,

In Holland there is a set of rehoused Leica lenses for rent, but apparently nobody rents them because people think they are to harsh. It consists of a 15/19/24/35/50/75/100 macro and 135. They were rehoused by Vandiemen optics when he was still active. Nice mechanics though.....
Maybe you should make them an offer....
Click to expand...

Mick,

thanks.

Do you have address or webpage of Vandiemen optics?
 
kosmos3d said:
maybe i will take out a sound mixer and put a mic on the camera and see what the levels are coming off the camera...give me a couple of days as the holidays and company will keep me from sequestering myself for such an endeavor.
Click to expand...

Yes! The big test will be:
A 1 hour interview with no breaks in a small very quiet room:

shotgun mic on the camera
shotgun mic placed for the interviewee
lav mic on the interviewee

Will the fan kick into overdrive after 35 minutes to stop the camera from melting?
How high a setting does the fan have to get to before mics: 1,2 or 3 pick it up?

A difficult test but by no means a deal breaker, after all I think almost every documentary director would film on 35mm if they could and would put up with breaking every ten minutes for a mag change.. (well..I would.. :biggrin: )
 
it was moved to the 13-14 i think and then there may be one right on it's heels...ill let u know
 
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