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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 :)

Tom Lowe...

e2TX


e2LN


Finally found this BTS shot of us filming the pocahontas girl at EDC. 50mm Master Prime. I kinda wish I would have run and got the slider for this shot, now that I think about it.
 
Tom, it's all so beautiful and inspiring, can't wait to see the final piece !
 
Tom, first, amazing stuff, watched the high resolution trailer and it's just awesome. Second, I've always wanted to do timelapses together with dolly/pan shots, but I haven't had any luck finding good equipment for slow tracking, any tip on what to get?

Got a 7D at the moment, but if I would want to do slomo-shots I'm gonna rent an Epic, so something that holds both weights.
 
Not trying to answer for Tom but one of Tom's sponsors is Kessler Crane.... http://www.kesslercrane.com/

They make high quality, durable and load bearing grip gear... sliders, dollies, tripods, motion control... everything you need. They are about to release a brand new motion control system around NAB. I've been anxious to hear about Tom's beta testing of it.

Short answer... buy from Kessler and you won't be disappointed.
 
Tom, I had my own question. Looking at your Vimeo video about editing in Premiere...

Do you have a Red Rocket or is not really necessary with the Mercury engine inside Premiere?

I generally use a Mac, but may buy a PC workstation if it means I don't need a Red Rocket.

Do you find there are any problems using RedCineX on Windows rather than PC?

Is the full RAW editing available within Premiere. I imagine that if the answer is yes, they are still behind in terms of implementing Alchemy or HDRx stuff? What is your experience there?

Thanks for your time.

-a
 
as far as i know he doesn't have a rocket, and premiere does handle the epic r3d files, but i don't believe alchemy or hdr are enabled... yet
 
I don't have a rocket. I'm sure it would help.

As far as I can tell, I cannot use Alchemy in Premiere right now. I really, really want it, though! Alchemy is AMAZING. I used it for the Big Sur coastal shot, and it blew away what I was able to do in Premiere.
 
So to be clear, for the Big Sur shot, you did some Alchemy adjustments in Redcine first, then brought that footage into Premiere?

I don't have Premiere 5.5 yet, but is that a typical workflow? Do some adjustments in Redcine first, then do more and finish in Premiere? Does that require some sort of Export from Redcine or ???
 
Yes, I used Alchemy in RCX Pro, but I had to export 4K DPX out of RCX Pro, then import 4K DPX into Premiere. I am going to talk to Adobe today and see what is going on with Alchemy support in Premiere. It's very important, IMO. Also, it would be nice to have EXR support in Premiere. It didn't seem to work when I tried to import EXR into Premiere.
 
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Filming at Lake Powell with Epic and 16mm Master Prime on Vincent Laforet's dual-KS8 ATM gyro rig. This rig is underpowered for this heavy of a setup. A 3x KS8 might have worked better, and for sure a dual-KS12 system would have worked. The problem with the larger KS12 rig is that it causes the camera to sit up pretty high.

In future, I am looking for a system that can hang the camera over the bow of the boat and skim right above the water. Any ideas?
 
I was thinking the same thing Tom. Going to be shooting for a month up in Eagle River, WI on the inland lake chains there and was hunting the same thing. My first thought was to use the same set up as car suction cup rigs with a boom pole holding a light weight protective housing in case it takes on a rouge wave. I still need to figure out how to incorporate a safety boom, not attached in any way to the boat rig, with a piece of climbing rope attached to the camera housing, just in case the boat rig fails. Would love to hear what you're thinking about for the setup Tom.
 
For me, the issue is not how to hang a camera over the bow. Any jib or crane can do that. The question is, how to stabilize the camera out low over the water. Once you move past these Kenyon bungee mounts, I think you start to get into some VERY expensive gyro-stabilized rigs.
 
I don't think RED has released an SDK with Alchemy... so I'd talk to RED before I talk to Adobe. Otherwise, you'll have to pipe all your final exports through RCX or do some studying and mimic the effect in Resolve. If people are really wanting to use a lot of Alchemy, we're going to have to figure it out sometime so we can match the look in visual effects shots...
 
Well, I can do EXR or DPX renders out of RCX Pro right now. But yes, if the hold up is Red, I hope that will change, as Alchemy is an incredibly useful tool!
 
Tom Lowe said:
Well, I can do EXR or DPX renders out of RCX Pro right now. But yes, if the hold up is Red, I hope that will change, as Alchemy is an incredibly useful tool!
Click to expand...

Yep - don't think Alchemy is in the SDK.

I second your request for EXR, Tom! If you chat to Adobe, please ask them for that - plus timecode :)

Disk space savings over DPX alone are reason for EXR - let alone other advantages such as 16/32-bit floating point color support (you don't have to work with Log if you don't want to), ACES color support, mulitple channel support, L and R eyes...

Bruce Allen
www.boacinema.com
 
I was actually thinking about something like the HOG Gyro mount set inside a lightweight protective housing connected to a boom. Do you think this might work?
 
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Just playing around with some new Epic configurations today. This is the new Wooden Camera Quick Back battery plate with an IDX V-lock. This will power the camera for hours.
 
Tom Lowe said:
e2Y9


Filming at Lake Powell with Epic and 16mm Master Prime on Vincent Laforet's dual-KS8 ATM gyro rig. This rig is underpowered for this heavy of a setup. A 3x KS8 might have worked better, and for sure a dual-KS12 system would have worked. The problem with the larger KS12 rig is that it causes the camera to sit up pretty high.

In future, I am looking for a system that can hang the camera over the bow of the boat and skim right above the water. Any ideas?
Click to expand...


I'm no expert on this stuff (so could well be talking' outta my arse) but just thinking out loud...

Surely a part of the job of these rigs is to lower the centre of gravity. That's pretty hard to do when the camera's bulk is skimming the water. Perhaps a periscope lens to get the glass close to the water while the camera sits (high) atop the stabilising rig?
 
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