Underwater Bubble Blowers User Group Thread NEW

[Johnny Friday]

Going to finally break down and pick up the RED Rocket this week, I'm certain this will be the best thing I could do instead of spending so much time in post production, sometimes painfully processing the files. Should have already bought one...

my 2 cents worth...just really enjoying my camera and the imaging that comes from it.

Frazier Nivens, Ocean Imaging

The Rocket Card is really a must have item if you are working regularly with the RED camera and having to deliver processed footage. That said, having proper output is also a must so you are transcoding what you see - you get. I tried on my Dell & Apple monitors and had to readjust to a better and higher quality route--and there are a number of options at the monitor end, but bottom line
R3D transcoding in RCX to prores 422HQ or 4444 output via Rocket Card with calibrated monitoring via HD-SDI to AJA Hi5 (hdsdi to hdmi) to plasma 50" as well as HP dreamcolor; then work in Final Cut Pro and color and then final grade on Matrox MXO2 and Plasma monitor HDMI (10bit) to output final transcode

.....that's been my work strategy of late and finally working as I'd like it to work after numerous go rounds with firmware and RCX upgrades.

 

[Johnny Friday]

Transcoding to Prores

Transcoding to Prores

I thought i might share some additional thoughts on transcoding. My experience now in two years of shooting raw and tanscoding to prores--keep in mind this is merely my experience and choice--is to keep it as simple and good looking as possible.

Prores deliverables: 422 or 422HQ or 4444 - which to transcode to?
I mention this now since there has been much debate on the topic. I originally transcoded everything to 4444 with the thought that this would allow the end user to get as much out of color correction and editing as possible. However, after collecting two years of stock and over 14TB on disk at around 50% 4444 and the remainder 422HQ and 422, i've come to the conclusion that 4444 is not a preferred method for me to transcode to and in most cases I've one lighted (within RCX) and colored there and within FCP 3 way color corrector and Color to the best of my abilities. That done, i believe i've created the best looking image that my client can expect. Of course they'll edit to completion and change Hue etc...to match their program. However (for tv-where 99% of my work ends up) transcoding to prores 422HQ has been more than adequate. Not only has it been adequate, but if you look at file sizes....the 4444's take up a lot more space and over time you'll find as i have that your library disk space is out of control. Especially if you are keeping a backup of each R3D and Prores. In essence now i have 32TB of stored footage....which is 16TB of R3d's and prores footage and 16TB backup. God forbid i make a second backup which i likely should.

This is what is working for me for my stock and stock delivery. I've not found that transcoding to 4444 has given me any additional value at the end of the day and also figure that if i am asked to deliver a project via prores for a client (NON STOCK); then i give them the option of telling me if they want it 422; 422HQ or 4444. Their choice and cost of extra HDD's. I've found that generally 422HQ is what they normally work with and will ask for. This may of course be different for feature world....however you are your judge on this one. YOu can always easily go back to an R3d and transcode to 4444 if asked, but the storage limitations with going all 4444 for your library is a very valid question to consider. At what point will you be running two 5 bay, esta controlled workstations (like in my case) and considering a third?

Any other opinions on this? Would love to hear your thoughts.

 

[Michael Hastings]

Note that red is about to implement rocket acceleration of color. They are asking for testers now.

http://reduser.net/forum/showthread.php?t=50395

 

[Frazier Nivens]

Testing Soon, Rocket Man...

Testing Soon, Rocket Man...

Note that red is about to implement rocket acceleration of color. They are asking for testers now.

http://reduser.net/forum/showthread.php?t=50395

Will be able to test soon Mike.

Frazier

 

[Johnny Friday]

So,
this thread seems to be drying up. Not much happening. Recently i've been re-grading old footage from 2008 through 2009 with RCX and utilizing the new color science. I'm quite impressed at how this old RED footage can have an entirely new look with the new updates RED has implemented.

Here's a still grab from 2009....shot on RED, transcoded to prores422HQ, then a still image taken from FCP.

It's an Orange cupped coral. Heck, since i'm transcoding piles or weeks worth of footage, i'll post some pics as and when they seem worth showing.

 

[Ross Isaacs]

Tongan whale shoot

Tongan whale shoot

Hi Bubble blowers and blowers without bubbles
Just got back from a shoot in Tonga ...here are some screen grabs from the expedition shot on my Red One.
here is some selects if anyone is interested.....

http://vimeo.com/16137813

 

[Johnny Friday]

Hi Bubble blowers and blowers without bubbles
Just got back from a shoot in Tonga ...here are some screen grabs from the expedition shot on my Red One.

ah yes....the Meg. Had mine for a few years. Good to see other non-bubble blowers in the water. that was a snorkel trip yes?

 

[Ross Isaacs]

ah yes....the Meg. Had mine for a few years. Good to see other non-bubble blowers in the water. that was a snorkel trip yes?

I had some other rebreathers in the past but I love my new Cave Meg. Yes the trip to Tonga was a snorkel trip but would love to take my Meg back next year if I can get a permit.

 

[Johnny Friday]

I'm constantly amazed at what i can do with this camera....sure has it's ups AND downs, but here is an example where i was shooting down into darkness and then quickly moved to shoot overhead. I completely blew pulling IRIS and of course did not RESET WHITE BALANCE to get a quick shot i wanted.

Anyway, you can see the before or RAW image and then the after GRADED image. Normally i'd have just thrown that shot in the garbage, but now......

 

[Johnny Friday]

Raw to multiple looks

Raw to multiple looks

Another example of the capabilities of RAW to final look. This was shot in i believe 2008 with AV housing build 18 or 19 i think shot with 18-50 lens, IRIS/FOCUS all set topside (at this time no manual controls in my housing). Hence very closed iris. Depth 60'; natural light (or very little light).

you can see original RAW, then yesterday i transcoded with new RCX build 340. you can see the difference. Just an array of options. and now with lens control.....yikeS!

 

[Johnny Friday]

StellarSealions-Alaska

StellarSealions-Alaska

Here's yet another example of a flat looking RAW image graded in RCX.
....This is a colony of Stellar Sealions. Diving at the point a group of 20 or so came out to us and nearly ran us out of the water. Well...yeah, the did run us out of the water. Sharks, whales, orcas..never a problem. But Stellar Sealions! yeah, they seem to be a wild and crazy group. Especially when they have a gang of ten or more with them....I might add that Walrus with their pups....yeah, they are pretty crazy and worrisome as well.

 

[Johnny Friday]

NANO3D test: Need 16 or 32gb CF cards

NANO3D test: Need 16 or 32gb CF cards

Hi all,
I'm testing the new Panasonic AG 3DA1 underwater in the new GATES housing.
Gates is also implementing the brand new Nano3d CF recording deck within the housing. Additionally I am being supplied with the NANO 3D deck for my week-long test. I am looking for anyone that has 16gb or 32gb CF cards. (Red 16GB cards work fine)

.....anyone have two cards I may be able to work out a deal for rental for this test? I'll be in San Diego on Oct. 31 and fly out to La Paz, Baja Nov. 2 with the 3d gear and will be out on the water testing till Nov. 7 or 8 and return the following day to SanDiego. I'd certainly buy these CF cards, but now that RED is going SSD, this will be a one week test only and until i know I'll own the Convergent Design Nano3d....i have no use for these cards at the moment. I hope this changes after this test and viewing the results of the threesome: Panasonic AG 3D1; Gates Housing; Convergent Design Nano3D CF recording deck.

....please feel free to email me direct at: johnnyfriday@me.com
Thanks.....

 

[C.H.Haskell]

Hi Bubble blowers and blowers without bubbles
Just got back from a shoot in Tonga ...here are some screen grabs from the expedition shot on my Red One.

This would be a dream one day, what amazing shots. I am building my lens package for my EPIC-X reservation and was curious if anyone tried using a RPZ 17-50 underwater, worried the front sunshade might be too large some housings. Perhaps the tokina 11-16 would be more ideal.

Best

Clay

 

[Michael Hastings]

This would be a dream one day, what amazing shots. I am building my lens package for my EPIC-X reservation and was curious if anyone tried using a RPZ 17-50 underwater, worried the front sunshade might be too large some housings. Perhaps the tokina 11-16 would be more ideal.

Best

Clay

I suspect the 17-50 is a cinevised version of the Sigma 17-50 introduced last year - as the original RED 18-50 was a cinevised version of the Sigma 18-50 of a few years ago (Although I understand the new RPZ 17-50 is much better mechanically).

Both excellent optically, but I wonder why you wouldn't just go with the RED canon mount? We have found (via the Birger EF mount) that it is a major boon to not have to deal with gears by using the internal motors of the EOS lenses for focus and iris - not to mention the cost savings:

That 17-50 in canon mount is $669.00 and the tokina 11-16 is $599. A set of Zeiss Contax/Yashica primes (28 f2.8 35 2.8 50 1.4 and 85 1.4) used is about $1400 and give you that cinema Zeiss T* look and smooth, long throw focus feel. And even a new set of ZE or ZFs 28 f2., 35 f2, 50 f1.4 and 85 f1.4 is about $4300. Add in the phenomenal Canon 70-200 f2.8L II (that Jarred has been using on the Epic) and you haven't spent much more than that one conversion zoom, and definitely less if you go with the converted 11-16 as well.

Unless you really need cinema style lenses for most of your work, there isn't that much difference and with the Epic lens mounts it should be very simple to switch for rentals or special situations.

 

[C.H.Haskell]

Yeah I hear you Michael, my work was calling for cinema style glass and I sold my ZFs to stick in the PL world. Down the line will choose an electronic mount but cant decide now and does not make a difference since my epic is not here yet.
For underwater use the electronic mount seems choice.

 

[Roberto Lequeux]

If I remember correctly, it was stated by a Red team member that the 17-50 RPZ was not a rehousing, but a 100% Red design. Optics included.

 

[Michael Hastings]

If I remember correctly, it was stated by a Red team member that the 17-50 RPZ was not a rehousing, but a 100% Red design. Optics included.

I didn't say it was rehoused (which would imply it was taken apart and reassembled as Duclos does with the Tokina 11-16), and there is some ambiguity in the wording and terminology. I haven't seen a 17-50 RED compared to a sigma 17-50 as I have the original 18-50s, but there are very similar coincidences that lead me to speculate and suspect the way I did. (but not with any particularly high confidence, so take it FWIW)

And there is nothing wrong, even if it is the same basic optics - it is a smart way to take advantage of the very high level of optical quality and economies of scale of modern SLR glass.

Further, the real point is that, if you don't actually NEED cinema style mechanics - which is the case probably for most REDONE production and probably will be even more true for Epic and Scarlet production, since those cameras are much more friendly for the vast majority of day in day out motion picture (i.e. not cinema) production AND there will be a RED/Canon solution - then there are a number very high quality, relatively low cost alternatives LIKE the Sigma 17-50.

 

[Johnny Friday]

Stellar Sealions:
these are very bitty animals. In fact one bit me on the backside and punctured my drysuit. I'd much rather dive with sharks any day.

 

[Frazier Nivens]

Yep, sharks are nicer...

Yep, sharks are nicer...

Stellar Sealions:
these are very bitty animals. In fact one bit me on the backside and punctured my drysuit. I'd much rather dive with sharks any day.

Ouch, they didn't like you it seems....but think that they wouldn't like anybody....seen this before...sharks are nicer...cool shots though...nice teeth...

 

[David Lagos]

Stellar Sealions:
these are very bitty animals. In fact one bit me on the backside and punctured my drysuit. I'd much rather dive with sharks any day.

Whoa.

New found respect for sealions.

Great images.

As a side note, if you ever need whale shark footage the Bay Islands here in Honduras is probably the best place to spot them. Tons of scuba expeditions and marine wildlife enthusiasts recommend diving off Roatan for these gorgeous animals. If you ever need someone to run logistics for you on this side of the Carribbean, more than happy to help.