Welcome to our community

Be a part of something great, join today!

Register Log in
  • 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 :)

Still changing...

RRJackson said:
The Scoopic 16M...
Click to expand...

Hey RR, but why don`t you talk the Konvas scale of ugliness? :-D
(to the others who don`t know what I`m talkin about: I mean the camera on his avatar pic) - I have a Konvas 2M and it`s the worst camera to do handheld work - a giant grip on the right side, but virtually no place for your left hand and a straight viewfinder without any kind of fancy pechan-prism system - then imagine trying to hold 6 Kg+ (roughly 13,2 lbs+) in front of your body... :blink:
 
Heh...the Konvas is just a Soviet copy of the old French Eclair Cameflex. George Lucas used Techniscope modded Camerflex bodies to shoot THX-1138. It's a pretty ugly camera, I'll certainly give you that. Pretty much bulletproof, though. Mine's a 1967 model that was given to the Koreans and they'd never opened the case. It was still wrapped in tissue paper when I got it. I don't even use the motor on it. They sent those kits out with a hand crank in case the motor died in the field and I like using it to hand-crank footage. No electronics at all in that configuration. It's about as sophisticated as a sausage grinder. It came with a shoulder-brace, though. When you shoot hand-held you're supposed to put the big handle on the side and bolt the shoulder brace to the bottom, which then straps to you with a big leather belt. It's still kinda clumsy, but not terrible. Here's a better photo of the old beastie:

http://flickr.com/photos/r_jackson/1925884685/

Priyesh P. said:
Hey RR, but why don`t you talk the Konvas scale of ugliness? :-D
(to the others who don`t know what I`m talkin about: I mean the camera on his avatar pic) - I have a Konvas 2M and it`s the worst camera to do handheld work - a giant grip on the right side, but virtually no place for your left hand and a straight viewfinder without any kind of fancy pechan-prism system - then imagine trying to hold 6 Kg+ (roughly 13,2 lbs+) in front of your body... :blink:
Click to expand...
 
RRJackson said:
Here's a better photo of the old beastie:

http://flickr.com/photos/r_jackson/1925884685/
Click to expand...
Aswe're talking about Videogames (Quake) this looks like Fallout to me. The Face of the cam ;-)

I'd like to see a Handcrank for the Scarlet. Like a digital one that take a picture every 1/x passed, where x is the desired Framerate. Would be cool to ad a realistic handcrank feel to the footage ;-)


George :gun:
 
RRJackson said:
Heh...the Konvas is just a Soviet copy of the old French Eclair Cameflex. George Lucas used Techniscope modded Camerflex bodies to shoot THX-1138. It's a pretty ugly camera, I'll certainly give you that. Pretty much bulletproof, though. Mine's a 1967 model that was given to the Koreans and they'd never opened the case. It was still wrapped in tissue paper when I got it. I don't even use the motor on it. They sent those kits out with a hand crank in case the motor died in the field and I like using it to hand-crank footage. No electronics at all in that configuration. It's about as sophisticated as a sausage grinder. It came with a shoulder-brace, though. When you shoot hand-held you're supposed to put the big handle on the side and bolt the shoulder brace to the bottom, which then straps to you with a big leather belt. It's still kinda clumsy, but not terrible. Here's a better photo of the old beastie:

http://flickr.com/photos/r_jackson/1925884685/
Click to expand...

Wow! Your camera looks indeed like it`s brandnew! Thanks for the info, never knew that there were models with handcranks. Mine didn`t have the shoulderbrace you mentioned...that explains the pain :)
BTW, I`m curious how handcranked images look like with today`s filmstocks like 5218 or the latest 5219. And I wonder if anyone so far used Arriflex` handcranking option for the 435 Xtreme: http://www.arri.de/camera/accessories/electronic_accessories/hand_crank_hc_1.html#_blank
 
J. Eric Camp said:
He isn't planing anything. He is saying that expects someone else will do it on their own.
Click to expand...
whilst not optical maybe something like this would be cool for RED 3D http://www.kopin.com/sxga/
I love their disclaimer "Specifications subject to change without notice"
at least RED notify us :)

i think Pink the music artist is the only time i refer to somethings name by colour lets just hope Red Digital Cinema doesnt change its name to a symbol

3568_1235665568.jpg
 
With modern stocks you have to try pretty hard to get the old silent-film "look" where the exposure jumps around. You can vary your cranking speed a lot and not see any noticeable difference in exposure. You have to really swing the tachometer from 2-3 fps up to 16-18 fps to get that nutty vibe. BTW, the most natural, comfortable cranking speed seems to be around 16-18 fps. I know gearing was probably different across lines, but I wonder if that in any way explains why silent films tended to be shot at those speeds. It's pretty hard to crank at a steady 24-fps on my Konvas.

Priyesh P. said:
Wow! Your camera looks indeed like it`s brandnew! Thanks for the info, never knew that there were models with handcranks. Mine didn`t have the shoulderbrace you mentioned...that explains the pain :)
BTW, I`m curious how handcranked images look like with today`s filmstocks like 5218 or the latest 5219. And I wonder if anyone so far used Arriflex` handcranking option for the 435 Xtreme: http://www.arri.de/camera/accessories/electronic_accessories/hand_crank_hc_1.html#_blank
Click to expand...
 
I'm still super excited. Thanks for the updates guys.
 
You guys are way off base... I hacked the Red Servers and reading through the info and analyzing the renders closely I came to the conclusion that the vents on the top are ram air induction ports, you know, to add horsepower while running with it on a steady.

They reminded me of these roofs of these babies:

http://www.supercars.dk/cars/mclaren/mclaren-f1-supercars.jpg


Looking good guys. Keep up the work and don't feel bad about "only" paying 16hs 6-day weeks... :gun:
 
I got an idea,

make it so it can be more warranty friendly in cold temps. Right now if I use the Red below 32F/0c and something malfunctions on the camera my warranty is void.

Maybe there could be a humidity sensor inside the camera letting you know if the humidity level is too high. Ie. if the humidity is to high then you know not to take it out into below zero situations.
 
Jeff Kilgroe said:
How do you define "professional shooter"?

I'm not going to say I love the RED One ergonomics because there are indeed lots of little things that could have made it better. But like Jay said, they're going in a different direction and it is becoming quite apparent with the DSMC system. I think the modularity approach is the right track to follow with individual "brains". As technology progresses, those brains will only become smaller and the shape less important in terms configuration and ergonomic use.

I personally find the RED One with a proper handle system like the Mantis, or even uGrip or Tangohead, is often more ergonomic than many HD camera systems. Even though the RED One isn't modular in the sense of the DSMC system, it still provides a lot of configuration options to distribute wight where it's needed.

I have found no ergonomic issues with the RED that have kept me from wanting to use one or kept me from wanting to own one. Biggest complaint over the RED One from me is the controls on the rear where I have to work around the touchy power button and the power and drive cable connections.

Plenty of us out there using the camera on a daily basis who don't loathe the design. Yes it has problems. What camera design does not? Am I allowed to say that there are things about an Arri 235 that I don't like?
Click to expand...

I define "professional shooters" as anyone who makes all his money working as a cameraman. dp, cinematographer, videographer and so forth.
Of course this is a wide category and I don't want to seem too harsh or simplistic. Maybe I was a bit controversial with my statement but I was also been honest with my observation.

I haven't met one person yet, working on the "trade", who really likes the RED One design. I understand the concept and mobility behind it, and I think it can be useful under certain circumstances, but if you ever worked with an Aaton (just to name one example) a full day and compare ergonomics, flexibility, balance, portability and more with the RED One, you know what I'm talking about it.

And yes, of course you are allowed to say you don't like some things about the Arri 235.
 
You must log in or register to reply here.
Back
Top