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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 One MX vs Canon 1d x mii

Thanks boss!

This is what forums are all about :)
 
Brian Timmons said:
Sounds like you picked up a decent package.
Hope it works out for you.

You have a camera that was built for cinema with one of the best codecs around and a decent sound recording subsystem.
Even in 2018 that camera packs a powerful punch. I have shot narrative, doc, and music video around the U.S. and even overseas with my R1 and a lot was run and gun including a bit of one man band work. I can tell you from my own experience that you can film in a lot of situations and get the results you want.
Also the camera is better in low light than what many believe. Test and come to your own conclusions. PM me if you need any advise.

P.S. - Nice work on the promo Chad.


Brian Timmons
BRITIM/MEDIA
Click to expand...

I will be stuck with PL, Contax and Nikkor lenses, which of the last two mounts should I prioritize for a gritty Fincher look :)

Price-wise Contax Zeiss are tempting and have manual aperture control.
 
Al Merto said:
I will be stuck with PL, Contax and Nikkor lenses, which of the last two mounts should I prioritize for a gritty Fincher look :)

Price-wise Contax Zeiss are tempting and have manual aperture control.
Click to expand...


I'm based mostly on Canon EF lenses as I have a Birger EF mount.
I shot a little with Nikkor and like their contrast compared to Canon which can look somewhat milky to me.
If you want the same glass that Fincher used you can consider using Zeiss Master Primes as that was used on
Social Network and Girl with the Dragon Tattoo which both filmed with R1 MX (apparently 2/3 worth on Dragon Tattoo).

https://www.imdb.com/title/tt1285016/technical?ref_=tt_dt_spec
https://www.imdb.com/title/tt1568346/technical?ref_=tt_dt_spec

Be mindful though that PL glass is heavier and the wider circumference for focusing makes it trickier if you don't have an assistant
thus the advise on shooting with lighter still lenses.

Brian Timmons
BRITIM/MEDIA
 
Brian Timmons said:
I'm based mostly on Canon EF lenses as I have a Birger EF mount.
I shot a little with Nikkor and like their contrast compared to Canon which can look somewhat milky to me.
If you want the same glass that Fincher used you can consider using Zeiss Master Primes as that was used on
Social Network and Girl with the Dragon Tattoo which both filmed with R1 MX (apparently 2/3 worth on Dragon Tattoo).

https://www.imdb.com/title/tt1285016/technical?ref_=tt_dt_spec
https://www.imdb.com/title/tt1568346/technical?ref_=tt_dt_spec

Be mindful though that PL glass is heavier and the wider circumference for focusing makes it trickier if you don't have an assistant
thus the advise on shooting with lighter still lenses.

Brian Timmons
BRITIM/MEDIA
Click to expand...

I am outside the realm of Zeiss Master Primes :001_smile:

Are Birger mounts worth the investment? I got mostly EF lenses, I just dunno if the birger can carry the load of heavy lenses.

Is R1 on monopod doable used as a pseudo glidecam and tripod replacement (attended)?

How about Vmount batteries, are 2 enough for a day?

Thanks
 
Last edited:
Al Merto said:
I am outside the realm of Zeiss Master Primes :001_smile:

Are Birger mounts worth the investment? I got mostly EF lenses, I just dunno if the birger can carry the load of heavy lenses.

Is R1 on monopod doable used as a pseudo glidecam and tripod replacement (attended)?

How about Vmont batteries, are 2 enough for a day?

Thanks
Click to expand...

Birger mount is great but they can be hard to find.
They also go for about $1k used. They are built well but I still put support on for heavier lenses
like a 70-200.

Yes you can put a R1 on a stronger monopod (hold at least 15lbs) but I not would use it as a stabilizer replacement.
You can try but I have doubts it will give you the movement you want.
If using Red bricks (153wh) I would use ideally 4 for typical narrative shooting.
Newer Red Bricks last about 90 minutes. If you’re buying used batteries then you might consider adding 1 more
As old batteries don’t hold as long a charge.

Brian Timmons
BRITIM/MEDIA
 
Brian Timmons said:
Birger mount is great but they can be hard to find.
They also go for about $1k used. They are built well but I still put support on for heavier lenses
like a 70-200.

Yes you can put a R1 on a stronger monopod (hold at least 15lbs) but I not would use it as a stabilizer replacement.
You can try but I have doubts it will give you the movement you want.
If using Red bricks (153wh) I would use ideally 4 for typical narrative shooting.
Newer Red Bricks last about 90 minutes. If you’re buying used batteries then you might consider adding 1 more
As old batteries don’t hold as long a charge.

Brian Timmons
BRITIM/MEDIA
Click to expand...

How good is the R1 on highlight recovery?

I may be stuck on using still lenses wide open, can I survive without NDs and just lowering down the ISO?

I saw an official Red tutorial that hinted making the red clips darker is way easier in post than salvaging an underexposed clip. My experience in Blackmagic raw dng, it's the opposite.
 
Al Merto said:
How good is the R1 on highlight recovery?

I may be stuck on using still lenses wide open, can I survive without NDs and just lowering down the ISO?

I saw an official Red tutorial that hinted making the red clips darker is way easier in post than salvaging an underexposed clip. My experience in Blackmagic raw dng, it's the opposite.
Click to expand...

Highlight recovery is good and even better with IPP2.
I don’t know precise numbers for what you can recover though.

You definitely want to monitor your histogram and avoid blowing your highlights like most
digital cameras. I would also follow the suggested ISO of 800 for further highlight protection.
Some rate lower and I have rated as low as 400 in controlled situations but 800 is quite fine particularly outdoors.

I would definitely have NDs ready even if it’s a variable ND. That goes for any camera.

Brian Timmons
BRITIM/MEDIA
 
Al Merto said:
this tut is what I Mentioned above

https://youtu.be/WiM14Hni3nI?t=111[/

Yes - what Nate is explaining coincides with what I wrote about rating lower in “controlled” situations.
In the example the highlights (ie light bulbs) were quite low and well away from overexposing. The contrast range ( from highlight to shadow) was also flat and limited allowing him to comfortably rate the camera at a lower ISO.
Rating at the lower ISO will essentially force one to open up the iris, thus recording more light information and a
“fatter negative” to work with in post. The more light info you record the cleaner the signal and less strain on the sensor.

Higher ISOs do the opposite as you are essentially exposing the image that allows less light but protecting the detail
in brighter areas (highlights) as a result.

Had it been a window behind at 2pm on a clear day (sunny side) he would not be able to rate so low
without compromising the ability to capture and recover highlights. When you have more contrast in such an image you
have to do all you can to mold the light (ND windows, put more light on talent, etc) to balance image and set camera ISO, and lens aperature (Even shutter) to get the intended look you want.
If you can’t bring the contrast range of the shot within the range of the sensor you have to make choices about how much shadow
And highlight detail you want to keep being mindful of how it affects the subject (faces, product, etc).

When you realize the relation to how ISO affects the monitoring of the image and the way you
measure with your scopes then you will understand exposing with the RED.
It’s not rocket science. It’s more about capturing images in a way that allow you
maximum flexibility in post.

As Nate said ISO is just metadata. You’re shifting around the way the sensor is capturing the light in the image
but with awareness of how you can manipulate in post.

BTW- Nate Heartt, who did this demo, was my RED rep when I bought my RED over a decade ago.
Generous and Knowledgeable guy.

Brian Timmons
BRITIM/MEDIA
Click to expand...
 
Brian Timmons said:
Al Merto said:
this tut is what I Mentioned above

https://youtu.be/WiM14Hni3nI?t=111[/

Yes - what Nate is explaining coincides with what I wrote about rating lower in “controlled” situations.
In the example the highlights (ie light bulbs) were quite low and well away from overexposing. The contrast range ( from highlight to shadow) was also flat and limited allowing him to comfortably rate the camera at a lower ISO.
Rating at the lower ISO will essentially force one to open up the iris, thus recording more light information and a
“fatter negative” to work with in post. The more light info you record the cleaner the signal and less strain on the sensor.

Higher ISOs do the opposite as you are essentially exposing the image that allows less light but protecting the detail
in brighter areas (highlights) as a result.

Had it been a window behind at 2pm on a clear day (sunny side) he would not be able to rate so low
without compromising the ability to capture and recover highlights. When you have more contrast in such an image you
have to do all you can to mold the light (ND windows, put more light on talent, etc) to balance image and set camera ISO, and lens aperature (Even shutter) to get the intended look you want.
If you can’t bring the contrast range of the shot within the range of the sensor you have to make choices about how much shadow
And highlight detail you want to keep being mindful of how it affects the subject (faces, product, etc).

When you realize the relation to how ISO affects the monitoring of the image and the way you
measure with your scopes then you will understand exposing with the RED.
It’s not rocket science. It’s more about capturing images in a way that allow you
maximum flexibility in post.

As Nate said ISO is just metadata. You’re shifting around the way the sensor is capturing the light in the image
but with awareness of how you can manipulate in post.

BTW- Nate Heartt, who did this demo, was my RED rep when I bought my RED over a decade ago.
Generous and Knowledgeable guy.

Brian Timmons
BRITIM/MEDIA
Click to expand...

You explained it better than him:thumbup1:

I don't have the red monitor so no scopes for me.

I will be monitoring via the Video Assist by Blackmagic. Waveform, Zebra and False color only.

If my unit's HDMI is toast so am I. Unless I procure an appropriate SDI cable.
Click to expand...
 
Last edited:
Al Merto said:
Brian Timmons said:
You explained it better than him:thumbup1:

I don't have the red monitor so no scopes for me.

I will be monitoring via the Video Assist by Blackmagic. Waveform, Zebra and False color only.

If my unit's HDMI is toast so am I. Unless I procure an appropriate SDI cable.
Click to expand...

I forget but I believe you can still see scopes with HDMI.

Brian Timmons
BRITIM/MEDIA
Click to expand...
 
Nice buy with the Red One! I have a flexible power extender to get the Red one on a gimbal (I used a movi m15) if you are planning to use that for sale. I also have the 7" red pro lcd for sale too if you need one
 
Also if you want super clean images, I'd rate the camera at 320 ISO if I were you. You are going to need a ND filter if you can't operate the iris on still lenses. I have been on a Zeiss Contax Duclos modded kit for a long time now. They are amazing lenses! This sensor isn't too happy about highlight blowouts. Ipp2 probably changes the game a bit since I shot on one 2 years ago but just be careful of that. The MX sensor is beautiful. I miss it sometimes, it has this look that I can't really explain
 
I received the behemoth today and I can't figure out how to mount my nikon modern still lenses on the All star A mount. I can't test the camera...this is killing me. Plenty of freebies though
 
I got it to wok kinda:thumbup: Slapped the 35mm 1.8G in there without the adapter thingy. Let it hang loose just enough time to see if the sensor works. Hdmi works as it fed my blackmagic video assist the footage of me using the cellphone flash a a steady source of intense light. It was the only thing visible as the aperture was nearly closed down, I can't control it. The light flare was like a midget anamorphic, blue and all I kid you not.

Where's a Birger EF mount when you need one.
 
Al Merto said:
I got it to wok kinda:thumbup: Slapped the 35mm 1.8G in there without the adapter thingy. Let it hang loose just enough time to see if the sensor works. Hdmi works as it fed my blackmagic video assist the footage of me using the cellphone flash a a steady source of intense light. It was the only thing visible as the aperture was nearly closed down, I can't control it. The light flare was like a midget anamorphic, blue and all I kid you not.

Where's a Birger EF mount when you need one.
Click to expand...

I never used the A-mount but there is a thread that explains the design and may show how to best use it.
http://www.reduser.net/forum/showth...unt-system-is-available!-with-REDONE-approved!

You can occasionally find used RED Birger mounts on eBay.
That mount was a pioneer in adapting EF mounts to different camera platforms as it came out well before Metabones and others.

A-mount looks decent though.

Brian Timmons
BRITIM/MEDIA
 
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