RED Raven in black and white

[PatrickWebb]

I just picked up a Raven the other day and started to exercise with it. I really enjoy the image that come out of the sensor, even though it is cropped, it has it's place as the right tool for the job. I almost feel that this could almost be a nice 16mm camera feel.

Anyway, the grabs you see here are from a short film I am working on. Thought to share.

Cheers!

 

[Rob Reid]

Hey Patrick, I have checked here a couple times hoping to see something. Interested to see what you have and any info on how you shot and processed for the conversion to B&W. DeHancer? Film Convert? Tools in Resolve?

Thanks, Robert.

 

[PatrickWebb]

Hi Robert,
Thanks for getting in touch.

Well, I approached the scene with styled lighting and because there was mixed lighting in the room we were in, we just decided to film most of it in B&W. It was more of a practical approach, then when we de-saturated in camera to see how it would/could look, it pleased us and we stuck to it.

I did not need to do much in the way of conversions or extra treatments, i just washed it through red cine x and then played with some of the options, mostly a classic S-curve maneuver. Also, the dragon sensor is pretty clean, like most, when you give them enough light. I had lit my scene well and deliberately. Again, it was a super simple set up with some basic gear. There is not really much to the tech here, as I needed to not have a complicated set up and pack down, so I ran mostly handheld and some tubes and COB mini light.

Cheers,
Patrick.

 

[Rob Reid]

Thanks for the response Patrick. Very nice filmic images. B & W works well with some bold lighting choices.
I assume you could achieve the same or similar on your Epic? Maybe shoot 4.5 k on it as well.

 

[PatrickWebb]

Thanks for the response Patrick. Very nice filmic images. B & W works well with some bold lighting choices.
I assume you could achieve the same or similar on your Epic? Maybe shoot 4.5 k on it as well.

Yes, of course I could get the same effects with the Epic. I have the raven for more of handheld work, where as the Epic is rigged up for more bigger production work. I like to have different cameras set up for different productions. Same goes for choice of glass.

I notice the difference between both the sensors. I tend to lean in favour to the MX sensor, believe it or not. However, it is a detail thing. I use a lot of vintage optics with the Epic MX as well as modern lenses and I really enjoy the image coming from it. As long as you do not clip the highlights and use good quality filters and lenses, the images is amazing.

I notice with the dragon sensor, I can be a little more lazy with the exposure control and I do see the micro contrasts more than what the MX sensor delivers. Again, this is nit-picking on almost irrelevant details, unless you work a lot with Post GFX and SFX, then this is a different production beast.

I have shot with the Helium sensor as well and that packs an insane amount of detail and clarity that sometimes hurts my eyes how good it renders an image, especially when you pair quality cinema glass with it. Not to mention when you process it to B&W ... oh boy is that an intense image. Then there is the Monochrome versions, which I have desired to try or even own my self, but have not gotten that far yet. One day.

The Dragon sensor, I feel, is the still industry standard. I work with loads of operators who use the DSMC2 Dragon-X 6K as well as the sturdy DSMC1 EPIC-X Dragon 6K and that is rock solid for anything you throw at it.

I will love my MX sensor and I will run it for as long as it will live. My clients love my work and I do what I can to offer what I can with my company and I am grateful for RED developing future tech. I am yet to play with the new DSMC3 lineup, but I am sure it is nothing short of insane.

Each tool has a job to do. Put it to work.

What about you, Rob - have you got anything in the works right now?

Cheers!

 

[Rob Reid]

I'm finishing up a script presently for a project I think might be suited to a noir-ish B & W look, on my Epic MX. When I consider my favorite films, most of them are probably B & W, shot on film. Many of them by directors that even when they had the option to shoot color, they chose for various reasons to shoot B & W.

Most recently on digital for B & W: NEBRASKA (Arri) ROMA (Arri, Best cinematography Oscar winner) and MANK (Red, Best cinematography Oscar winner)

 

[Sean Connery Smith]

Its beautiful.....