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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 :)

Scarlet X for 3D!?

Definitely!!

Just not for those that like PJ, JC, and KR... Oh wait that is me he he, yeah plenty of people that will take HUGE advantage of the SCARLET,
but not those that need the ABSOLUTE Best Image quality the industry has to offer at higher frame rates... THAT JOB IS LEFT FOR EPIC!!
 
Since the Scarlet is essentially the same size as the Epic, the same stereo rigs you'd choose for the Epic would be appropriate. I'm thinking of the 3ality Technica Atom or TS-5 (the TS series wouldn't probably be so amenable to documentary work, though), or the Neutron or Electron if you need to go really small.
As for primes vs. zooms, I'm a huge prime lens advocate for S3D shooting. The geometry is better, you don't have to worry about zoom tracking, and changing primes + realigning really doesn't take very long at all. However, if you have the prepro time to get your zoom tracking nailed and you're just going to fly one pair of zooms and never change them then that's probably a really solid documentary option. As for which zooms to pick, it's all about geometry. People like the Optimo DP series, but I find the deviation drift out at the edges (it's impossible to get perfect alignment much outside the dead center of Optimos) to be really aggrivating, especially if I don't know what post-production geometry correction resources I might have available. With Canon zooms I'd fear breathe during focus (which will never match precisely from lens to lens) and T-stop drop as you zoom out further. But I haven't tested Canons in the S3D world yet.
 
Thanks for your input Keith. All the equipment you mention are great, but I am afraid way out of budget for an independent documentary shoot even to rent.

I am looking for more affordable lens and rig control options. If EF lenses' iris and focus could be simultaneously adjusted with the Redmote then that could be very affordable and keep weight down at the same time.

By the way is it possible to genlock the Scarlets? I can see a sync terminal, but not sure how that would work.
 
Balazs,

the issue here is that you really will encounter an insane amount of issues in Post utilizing two SLR Zooms for 3D work, a world were everything must be closely Match to as perfection as possible,
while more and more is getting fixed in post, this adds greater cost to your Post production, making it even more expensive then using PL matched Zooms, for this if you need to use Zooms,
you'll need to invest in Rouges, or have a larger budget for Post corrections.
 
Thanks Ketch for your advice. I do understand your concern about matching SLR zooms for 3D. I can get a lot of things corrected in post, but I'd rather do it properly while shooting and correct only what is absolutely necessary. I am afraid the Rouges as much as I would love them are way out of budget. Maybe one day :)

Are EF primes suitable for 3D work then? That way maybe iris and focus could be adjusted at the same time with one Redmote. Would I still encounter a lot of problems when swapping from one prime to another?

Or would it be a better option to shoot 2K or 3K (which I would probably prefer so I can shoot higher frame rates) and use PL mount 16mm lenses?

Thanks for helping me to find the optimal solution in quality, usability as well as affordability.
 
Ketch, have you tested the Duclos cine mod Zeiss ZE lenses too? They are supposed to be better than ordinary DSLR lenses.

Sorry for always asking more and more, but budget is a very restraining factor. Believe me I'd be the happiest if I could use the best gear available :)
 
Balazs Jekler said:
Ketch, have you tested the Duclos cine mod Zeiss ZE lenses too? They are supposed to be better than ordinary DSLR lenses.

Sorry for always asking more and more, but budget is a very restraining factor. Believe me I'd be the happiest if I could use the best gear available :)
Click to expand...

All Still glass will give similar results, no matter how good, its just simply the way the glass was designed, were none of the issues that a Cine Glass Manufacturer has to worry about, matter to the Still glass guys.

This is why we get the Motion artifacts, Breathing, Zoom movement more pronounced when zooming etc, more so in the Still glass then we do on Cine glass.

Then the more expensive it gets the more detail has been placed in this elements to make the lens as best as money can make it, were technology is not the limit.

If you must for restrictions of weight, money and or any other, test test test, you never know... ;)

But I simply give up even trying on using Still glass for 3D... :(
 
Making minimalist SBS rig for Scarlet-x

Making minimalist SBS rig for Scarlet-x

I plan to shoot a project in the summer with two Scarlets. Because subjects are mosty far from the camera, I want to/can use side-by-side.
What is the absolute minimum axial spacing of these cameras ? Can the Scarlet be stripped down to the box size only ? I have the capacity to make camera parts to help slim it down, if needed.
I have proprietary software tools to correct eye alignment issues in post image processing, etc, so the rig can be as light as possible. The shooting locations make the large mirror rigs unworkable.

I'm new to Red, and am excited to use it in S3D!
-Les
 
Back SSD Module

Back SSD Module

A Back SSD Module would be nice, making the IO spacing close to 100 mm .
Is that piece on any lists for anticipated delivery dates ?
-Les
 
Found this one from Michael Biggins what can give you a fair idea on what the lack of faster frame rates can actually save all of us, shooters and viewers, from bad motion ...and useless ideas from talented filmmakers converted in crazy digital moviemakers (hey Ketch, you know quite well this is not towards you :-) another plus for Scarlet-X LOL ;-)

«To answer your question, only 1 that I can think of. "Public Enemies" with Johnny Depp was shot digitally at 24p but included some 60p sequences (only in theateres where it was DIGITALLY projected). I saw it in such a theater and found it quite jarring and did not like the 60p sequences at all - however I did find it fascinating to be able to compare and contrast on a big budget commercially released movie. I am not sure if the blu-ray kept these 60p sequences or converted everything to 24p but to get an idea of what it looked like, simply run any of the home theater software or TVs that have the "true motion" or similar feature and add frames to bring 24p to 60p. To me it looks like a bad soap opera and ruins the movie but see if YOU like it.»

http://www.dvxuser.com/V6/showthrea...2-Comparison&p=2465626&viewfull=1#post2465626

«This is the artistic thing that people don't get. 60p does in fact make things look more real - which makes a dramatic thing such as a narrative fictional movie take on the look of the 6 o'clock news or "the making of" behind the scenes footage. Costumes look like costumes, sets look like sets.... something of the hypnotic artistic suspension of disbelief illusion is lost. More 'REAL' looking is not necessarily BETTER for artistic pieces. If such were the case, all painters would be photographers, not painters.»

http://www.dvxuser.com/V6/showthrea...2-Comparison&p=2465630&viewfull=1#post2465630
 
I'd like to know what the Crop factor is then with Scarlet X...seems to me most TV folks (i'm in that) will only be using 3k...so if the camera is 5k....we then have crop factor of 1.4 or so ? what or how does this affect the Scarlet X ? Is it full frame at 5k, then if you shoot 4k you then have crop factor issues? or only at 3k ?
 
Sensor is effected by the Crop factor at each resolution as follows:

5k 1.3
4k 1.6
3k 2.0
2k 3.9
1k 6.4

Approx.


Jesper Sichlau said:
I also made one:

Scarlet-X%2BCrop%2Bfactor%2Bsheet.jpg
Click to expand...
 
Les Dittert said:
What is the absolute minimum axial spacing of these cameras ?
Click to expand...

With two Side-by-side EPICs, the distance between two lenses is ~5". I could get it down to ~4.5", but then I cannot turn on the left camera without moving them apart. If you removed the side SSD on the right camera, you might be able to get the distance down to ~4". I am using Nikon 24mm, and 35mm, F/1.4 G lenses on the EPICs.
 
So how would shooting in 2K or 3K affect my lens choices? Would this mean a 14mm (S35 or FF?) lens becomes 24mm in 3K and 48mm in 2K? Would it also mean on the other hand that the images would be sharper and distortion free from edge to edge since only using the center portion of the lens?

Would it make sense to use 16mm PL mount lenses instead? Do 16mm lenses cover the 2K or the 3K crop?
 
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