RED Scarlet in Car?

[Matt Ryan]

That didn't answer my question... unfortunately.... I mean you have guide lines available on the camera, sure. But why then is it only stated that the epic can do WS 2.40:1 if you can shoot 2:35.1 on the scarlet? When I look at the specs the widest aspect ratio on the scarlet is 1.9:1 ....

There isn't a WS setting on the Scarlet, but shooting at 4K 2:1, you can set guides for 2:35 which in post you crop out the top and bottom and just keep the inside 2:35 frame. This is better because you have the extra area around the 2:35 area to move up and down or do stabilization if you need to. This is how most 2:35 features shot on the RED are done. Here is an image to show you how Girl with the Dragon tattoo did this (they made it under 4K resolution final, but you can just crop the top and bottom to get 2:35):

and this is for Prometheus:

both shot in 2:1 mode and just cropped the image to get 2:35/2:40...Just make sure you use the 2:35 safe guides on the display so you frame everything within the 2:35 that you want in the final image.

 

[Robert Wauu]

Thanks Matt, that's exactly what I needed to see. That would mean that if I decide to crop this way, my final resolution would be well under 4k, especially since I'm shooting on a Scarlet and not an Epic.

 

[Christopher Mills]

spend the money to have an auto glass specialist remove and re-install the windshield glass, if possible..

even if you are low budget, this will immensely improve your possible camera positions, and let you get farther away with a long lens...

And I bet a tamron 17-50 2.8 in canon mount will help a lot.. though the focus throw is VERY short.
The Scarlet Ti and Al Mounts will communicate with that lens.. and if you are shooting ws your corners will be fine even at f2.8
I have tested this lens on a scarlet, and an epic.

 

[Matt Ryan]

Thanks Matt, that's exactly what I needed to see. That would mean that if I decide to crop this way, my final resolution would be well under 4k, especially since I'm shooting on a Scarlet and not an Epic.

Hey Robert, no just slightly below 4K (3600x2176). Its still the same lengthwise, just cropped height wise. Lots of films shot on the Red One have been done this way also. So you don't need an Epic. Girl with the Dragon tattoo was shot on the Red One in 4K 2:1 but framed and finished in 2:35. In post you would just import the full res file, and set a 2:35 blanking so you get an idea of the frame, and then can move your image up or down to get the right positioning. Just make sure to use the 2:35 guides in camera or else your screwed when it comes to framing.

 

[Robert Wauu]

Christopher, I have the Canon 17-55 2.8 IS , I haven't tried anything on the Scarlet as I am still waiting for it. But I hope my modest set of Tokina 11-16 2.8, Canon 17-55 2.8 IS and Canon 70-200 2.8 L II will be enough for this feature. I guess if I stay at around f5.6 like Björn said that I would be able to keep focus.

I am really thankful for all the help from you guys, since this will be the fist feature that I shoot ever, and it will be on red

As for aspect ratios I was actually considering 1:85.1 because I thought that it would let me keep higher final resolution on the material vs. the 2:35.1 crop....

 

[Matt Ryan]

Christopher, I have the Canon 17-55 2.8 IS , I haven't tried anything on the Scarlet as I am still waiting for it. But I hope my modest set of Tokina 11-16 2.8, Canon 17-55 2.8 IS and Canon 70-200 2.8 L II will be enough for this feature. I guess if I stay at around f5.6 like Björn said that I would be able to keep focus.

I am really thankful for all the help from you guys, since this will be the fist feature that I shoot ever, and it will be on red

As for aspect ratios I was actually considering 1:85.1 because I thought that it would let me keep higher final resolution on the material vs. the 2:35.1 crop....

If your going to 1080p for your final delivery, both will be more than enough resolution. Really it is just a stylistic choice. Do you want the more narrow image or the taller aspect ratio like tv? It's really just an aesthetic choice and what fits best for the story. You can still shoot 4K 2:1 and set a 1:85 guide and do the same operation as with the 2:35. So in the end you can do both from the 4K 2:1 setting.

 

[Justin Batchelor]

Cant remember the settings, but i think the fan was on ver low.

 

[Christopher Mills]

I should have mentioned the tokina..
I shot a lot of beauty shots inside a ford fusion earlier this year, and that lens was a lifesaver.. as its wide, the depth of focus goes on forever, and the distortion was entirely acceptable from the client.. actually it was more rectilinear than the zeiss 16mm 2.2 I had as a prime.

I still think you should pull the front glass while on the stage for any straight back at front seats footage..

Oh, and having done my share of dialog around a car work.. shoot out each camera angle work in each day, then move the camera.. you will be seriously adding more time to your shoot if you jump back and forth during the day, as you will be building and rebuilding fake process gags all day long..

If your director and actor will let you shoot out each angle as used for the movie, and not take stuff apart in between, that would be even better...
as in.. day one.. from driver side day two from front, day three from pass side, day 4 from back seat..

this may not be possbible with actor performance and wardrobe issues, but it will make camera and lighting's life a lot better..


And in addition to moving lights, flags, twigs, etc on your fake process gags, if you can get small trails of smoke past the windows every now and then, it'll really enhance your effect...

rent a le maitre tiny fogger to do this..

 

[Robert Wauu]

Matt, It's main purpose would be theatrical release. On IMDB it says that The girl with the dragon tattoo has a 4K master format....hmm...I will go for the 2:35, that's what we wanted from start, but thought that it wouldn't be possible with the Scarlet.

I guess the best would be a 2K master (Asking for a 4K master would that be too much? Why would I do 1080p master?) since we are going to aim for Cinema and theatrical distribution and mostly film festivals.

 

[Matt Ryan]

Matt, It's main purpose would be theatrical release. On IMDB it says that The girl with the dragon tattoo has a 4K master format....hmm...I will go for the 2:35, that's what we wanted from start, but thought that it wouldn't be possible with the Scarlet.

I guess the best would be a 2K master (Asking for a 4K master would that be too much? Why would I do 1080p master?) since we are going to aim for Cinema and theatrical distribution and mostly film festivals.

I only said 1080p because I was curious of what you were finishing in and didn't expect cinema. 4K master isn't too much unless your doing a ton of vfx. That get's very expensive. I'd finish in 4K if you can. GWTDT is considered 4K even though its only 3600...It was close enough.

 

[Werner Jauch]

I shot a scene in a stationary car a few months ago. Scene was at night, we had some 650W lights outside and a PA moving a reflector to simulate lighting from other cars. The main source of lighting was however about 3 strands of christmas tree lights on the actors laps, this to simulate light from the cars dashboard. In your scene, such lights should be adequate, as there will presumably be "snow" reflecting light back in through car windows. I used a canon 50mm at f1,4 just outside each front open window, moving it close enough so that no window frame was seen in the shot. Audio guy was in back seat, he didn't object to the Scarlet's fan (I think the local crickets were louder at the time)
I found using a SUV (honda Pilot) rather than a car allowed me to get camera back a bit further as front windows are significantly larger.
(Didn't think the picture made it to Reduser, it is taken from a rough cut 1080, compressed, without ISO adjustment grading etc)