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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 :)

Speed Ramping - Rates?

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AlienFX

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I know its been said Speed Ramping is possible, but is there any limit or anything on the range of rate you can ramp from - to? Could I ramp from 1fps to 60fps in 4k?
 
Ramping

Ramping

From 1 fps to the maximum supported at the resolution you are working in :

so for Build 8 / Build 9 firmware it would be

4K / 4K 2:1, 1 - 25 fps

2K, 1 - 75 fps

Except that we don't yet support ramping. Future firmware releases that do support ramping may also have higher maximum frame rates.
 
AlienFX said:
Okay, Now a seperate question.
If I ordered by Mid-January would my cameras be ready by Mid-Feb. or March?
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No, probably more like June, July or August, but that's somewhat of a guess. I'm #1110 and I expect my camera in early February, based on the last estimated schedule, which is now well over a month old. There seems to be somewhere around 3000 reservations currently.

Either way, I would think Feb-March isn't going to happen if you don't already have a reservation # under 2000.
 
Uh... Rental units?

12 cameras? Seriously?
 
Although you could justify renting on the first shoot to see if you actually need 12 cameras for your future projects. You might find that you can cope quite easily with 4 of them and a few skilled techs in which case you'll save yourself hundreds of thousands.

Paul
 
12 cams does seem like a lot. The scenario described could be handled with fewer. But it's your shoot so handle it however you'd like. :)

I don't know if the 5-camera order limit is still in place. I was under the impression, that was just for the initial reservation periods before NAB.
 
Look in the RED owners rental section. For now, most rentals are independent operators with one or two cameras. A lot will change with the next couple shipments. You probably won't find the rentals you would need until more cameras have shipped.
 
AlienFX said:
We're shooting each set with 4 cameras. 4 angles @ one time.
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Lighting for 4 cameras at 4 different angles for each shot should be very interesting for lighting. Not to mention 12 heads, 12 sets of stix, multiple sets of lenses, matte boxes, filters and everything else. You guys must have a massive budget because it will cost loads more dough to shoot that way.
 
Options

Options

Your business decisions are your own but perhaps buying some of the cameras and renting the rest would make more sense - unless of course the multi-set multi-cam shooting style is SOP for you, or you want to be a rental house in between shows.

In any case, the Redninjas have several cameras; all with accessories, sticks, primes, etc and could probably handle one 4 camera set on one deal memo. If you're interested PM me and good luck with your project.
 
CrewPix.com said:
Throwing twice as many cameras at a script does not cause it to get shot twice as fast.

You may see a 20-30% time savings if you are really on the ball, but even that would surprise me.
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IMHO I would see a 20% slow down with running that many cameras not to mention how much more it would cost to shoot outfit all those cameras.

Your typical feature main unit has 2-3 full camera crews and equipment and maybe 2 spare bodies on the truck in case of problems. Generally everything is shot with 1-2 cameras at any given time. This is because experienced people have learned this is the most effecient way to shoot. Except for a stunt or explosion over 3 cameras working just becomes a Cluster F#(^ of problems.
 
Hey Blair, maybe put the red ninjas stuff in your signature? :)
 
Finner said:
IMHO I would see a 20% slow down with running that many cameras not to mention how much more it would cost to shoot outfit all those cameras.

Your typical feature main unit has 2-3 full camera crews and equipment and maybe 2 spare bodies on the truck in case of problems. Generally everything is shot with 1-2 cameras at any given time. This is because experienced people have learned this is the most effecient way to shoot. Except for a stunt or explosion over 3 cameras working just becomes a Cluster F#(^ of problems.
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Yeah, I'm in a similiar situation with my coming feature. The funding will be near the same, and I kicked around the idea of shooting with a Von Triers Dancer in the Dark style for about a second (putting cameras everywhere just because I can)...however, when I came back to my senses...I completely agree with the above. I think it'll be more advantageous to stick with a more simplistic and traditional approach. Ultimately, I'd rather keyframe moves that correspond to the actor's blocking (and hopefully find movement that suggests something visually about the story as well), and having all those cameras suggests static camera placement. However, my spatial IQ is lacking, so maybe there's a way to orchestrate a moving four camera setup and lighting that is manageable.

Not trying to discourage you, just saying I thought the same, but in the long run it seems like the end result could be onerous.

Best of luck in your endeavor.
 
Personally I can't see that you are actually saving anything by shooting with so many cameras. I have only shot action sequences and concerts with more than 2 cameras. In over 30 years I have found it takes about 80% longer to set up and light a shot with 2 cameras, interior dialog. I worked on a TV pilot were we did a week of 12 hr days that averaged 60 set ups a day including syncing cameras to video playback. Now that's flying, I had no tome to take a piss that week, move camera, change lenses, sync to video while the DP lit, then shoot 1-2 takes move on. The sets were pretty big and pre lit and during that week we were only on one set for more than a day.

Shooting multiple cameras always involves a compromise with lighting and composition and the cameras are always in each others way. It's pretty tough unless you shoot like a soap opera/Telenovela with cameras synchronized to the script and always in motion to cover the next bit of action. Never optimum but doable.

Having that many cameras seems unnecessary but more power to ya if you can afford it.
 
160 page script? I'm am certainly not saying it cannot be done in that time period as I do not know your script. But you should certainly budget at MOST 3 pages a day for dialog intensive sequence to be safe. Side note do not forget that you will have to have that many people operating those cameras, just a thought. Again not saying it cannot be done. Just be careful as we all here would like to see it be successful. Also things do go wrong on set make sure to budget extra time.

Best wishes and good luck, It would be cool to see a movie done this way, it would give it a pretty unique look.
 
AlienFX said:
The way we're lighting is we are setting a base lighting style, that won't change.... and then depending on the shots we'll add some low powered lights to fill anything we need to.

We're building the sets completely inclosed , but they have a bar going through each flat allowing them to swing up.... so we can have 4 walls, and then swing up a section of the wall to allow the camera to get a shot into the set..... then when we need a reverse, we just bring that part of the wall back down, and do the same thing on the other side. It would be main frame, with bar from one side to the other, then each flat is basically hung from that bar, so the flats can free swing.

There are also alot of steadicam moves, so we got a bunch of cameras moving to cover stuff at one time.

So we are just mounting lights off the top of the set (or a stand behind the set, if the light is to large.).
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Love the idea with the flats, but I'm still a little unsure of the lighting scheme and how that will play out. And having four steadicam ops roving about seems like an orchestration nightmare. But hey, that's what makes our jobs so cool...innovative approaches to traditional ways of doing things. I'm sure it'll be interesting if nothing else.
 
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