Welcome to our community

Be a part of something great, join today!

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 :)

Timelapse / Interval recording

It would be really great if you had the complete control that you currently have with traditional 35mm cameras using the Norris or the 435 ICS module. That is, you can have any interval up to 1 day, any exposure time (from 1/500th to 10 minutes) and any number of frames in a "burst", as long as all 3 parameters don't collide in time (in which case the Arri ICS will give you an error light)
One of the biggest bummers for me with the HVX is that I can't get to a slow enough shutter. That, and larger sensor/ more res, is the reason DSLRs really shine here.
But it would be great if RED allowed this much flexibility.
Would we need a capping shutter to protect the sensor during a long day out in the sun? I doubt it (no charge on the sensor, no radiation or burn in yes?), but hopefully this is something that the RED team have looked at.
Cheers,
Harry
 
...I have the same gripe with the HVX. And time lapse is a big reason I bought my Nikon D2Xs. I have a few gripes there too such as it only has up to ASA 800 and it's way noisy at ASA 600 and up in most situations. At ASA 400 and lower with proper light, the camera is amazing. For timelapse and long exposure it shines. I've only had it a few months now and I've got several shots out of this thing that just blow my mind. I did a lunar eclipse timelapse with a 70~300mm zoom at full tele with a 1 second interval recording direct to my Macbook Pro. Wow.
 
Jeez, I don't know if I would use a super-expensive full-frame DLSR for timelapse. That's putting a lot of wear and tear on your nice camera. But I guess if the shots are worth it and you have the money, go for it.

I'm shooting on Rebel 350D crop DLSRs, and hoping that when I upsample the RAWs in Photoshop to 4096 they will match up to my 4K Red footage. We'll see. There is some noise in the shots, so obviously it would be better to shoot on a camera with greater res than 4096 and downsample, but those cameras are too expensive for me right now.
 
I don't do much timelapse stuff with the Nikon, but it does work beautifully. The D2Xs is expensive, but I bought it as a refurb unit and saved some there. And it paid for itself within the first 6 weeks or so doing a couple timelapse and stop-motion pieces.
 
AppliedVisual said:
I don't do much timelapse stuff with the Nikon, but it does work beautifully. The D2Xs is expensive, but I bought it as a refurb unit and saved some there. And it paid for itself within the first 6 weeks or so doing a couple timelapse and stop-motion pieces.
Click to expand...

So who pays you for this type of work, if you don't mind my asking. I'd love to get paid for shooting timelapses. :)
 
Tom said:
So who pays you for this type of work, if you don't mind my asking. I'd love to get paid for shooting timelapses. :)
Click to expand...

I would tell you, but then I would have to kill you.... :ninja:

I don't necessarily get paid for timelapse in itself, but incorporate a lot of timelapse, stop motion, and other animation effects into my work. Most clients that approach me aren't necessarily looking for such things, but I often propose them if I feel such an effect could enhance the the project we're discussing. I tend to do a lot of corporate video work, industry-specific stuff, intra-industry marketing and promotional pieces. It also helps that some of my biggest clients are in the gaming, gambling and resort industries. I've been paid on several occasions to do timelapse and long-exposure shoots in and around ski resorts, casinos, etc... I've also done quite a bit of animation work over the last 5 years or so... My biggest clients for 3D CG content and animation work has been the scientific/medical community and US military. I have also been fortunate that this isn't my entire livelihood, but rather a hobby that has taken me places I could only dream of 10 years ago. I, my brother and our father (who is now retired) have perpetuated a construction company started by my great grandfather prior to WWII. Moving dirt and speculating real estate has been my bread and butter, but flim, animation and FX are my passion.

I'm trying to pull away from a lot of this these days and work on my own ideas, projects, etc... Buying RED is one step in this direction... It will be great to have, but is overkill for what I actually do for others. It's a creative tool that will hopefully enable me to create higher quality work than others doing the same -- I'm already one step ahead of many when marketing to many of my clients just by using the HVX200 and renting other gear like the Varicam on occasion. But RED is promising me a way to own a quality cinema camera system for less than an F900 body or Varicam body with a stock lens.

In addition to all this, I'm a science fiction writer with agent representation and I'm getting close to getting publishing approval for one of my works. Still arguing with editors over some details they think are "too technical". I've got a few screenplays ranging from short films to full features that I would like to produce. We'll see what happens there.... I've optioned one screenplay in the past, but nothing came of that other than tying it up for a year for little more $$ than it would take my family out to a nice dinner. But I guess I'm still learning... This movie biz is almost as cutthroat as commercial real estate, but that's OK. I'm a fast learner and I think I've got some quality stuff to work with. Hopefully when RED delivers my new gun, I'll be ready to shoot. :gun:
 
Does anyone yet know how the red will sync with moco, strobe lighting, etc.? What is used nowadays with film cameras?
 
You must log in or register to reply here.
Back
Top