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 :)

What's up with the RPP's??

I'm thinking like "Fireman Mike." I wonder if they are bringing out those Electronic lenses that were discussed when they introduced of the DSMC concept. They laid out the concept of a couple of zooms that would have "a mixture of still and motion characteristics."

If you have a limit on your engineering resources and there are plenty of choices in one market (PL glass), it might make sense to focus on the unique opportunity, that is glass that can work in both still and motion environments. Plus they are gaining a great deal of knowledge with their Nikon and Canon mounts as well as their development project that was the 2/3" Fixed Scarlet.

Or not. Who know?....
 
Ralph makes a good point WRT the Scarlet Fixed; RED spent a lot of money and R&D effort on the electronic zoom for that camera and somehow ended up with a lens they couldn't make parfocal (Say again? How on earth did they paint themselves into that corner? Shouldn't that all have been taken care of when the lens design was calculated?!). A lot of the technology that came out of that exercise probably could and should be recycled into electronic S35 lens designs. I want that zoom rocker on the REDmote to function as intended... :-)

Ditto WRT the lens market. RED are good, but they simply don't have the decades of experience with cinema quality glass that Cooke, Zeiss, Angenieux et. al. do. Really top-end optics are perhaps a little less amenable to RED revolution than camera electronics. So what can they do? Make glass (or have it made, as has been pointed out) just a whisker below the very top shelf stuff at an astonishingly competitive price? Done that. Next... their core competence... electronics, and the real-time software magic to control them.

Mike
 
If they were making a zoom, why pull the primes out of the store? I bet it will be smaller versions of the RPPs, to compliment the size of the Epic. Perhaps with FF or just more coverage (maybe the coverage will hint at the size of the dragon sensor?). The challenges of making a f1.4 lens are pretty substantial at the price point they are probably aiming for, so I doubt they will be faster. Sucks I may have to cancel my order for a set of Ultras...
 
here's my speculation, haven't heard anyone try this on yet -

RPPs won't cover the DRAGON!

I doubt they are making them smaller.

For smaller, there is Canon/Nikon...Leica.

I'm betting they are adjusting the image circle to cover the next-gen sensor size....
 
Meryem Ersoz said:
here's my speculation, haven't heard anyone try this on yet -

RPPs won't cover the DRAGON!

I doubt they are making them smaller.

For smaller, there is Canon/Nikon...Leica.

I'm betting they are adjusting the image circle to cover the next-gen sensor size....
Click to expand...


In which case Jarred's message should maybe have been "you are best NOT to get the RPPs while you can..."? :lol:

Mike
 
Why should Dragon be larger??? S-35 is the cine norm, no reason to change that. Sure, a 70 mm alternative would be cool, but no reason to make a mess of different formats close i size...
 
Mike 'Fireman' Ross said:
In which case Jarred's message should maybe have been "you are best NOT to get the RPPs while you can..."? :lol:

Mike
Click to expand...

unless you own a RED ONE - still about 8-10K of those out in the field - not eligible for DRAGON upgrade

or a SCARLET - another 5K or more of those in the world - not sure if SCARLET is eligible for DRAGON - seems unclear...
 
Jon MIchael Puntervold said:
Why should Dragon be larger??? S-35 is the cine norm, no reason to change that. Sure, a 70 mm alternative would be cool, but no reason to make a mess of different formats close i size...
Click to expand...

FF35. Even if S-35 is the cine norm:
Is the norm the best possible option for DSMC?
Does Red need to conform to the norm?
 
I'd like to see some RED Superspeeds. Smaller, faster, lighter. Sharpness not quite as big a deal. And some 2x RED anamorphics. I'd like for them to be compact as well, like the hawk v-lites. There should also be a new longer zoom, like the 50-100. Maybe all new electronic zooms. I don't really care about having electronics in primes. Just more to go wrong and get outdated. Oh, and all the new lenses should cover FF35. And make them free.

Really just one of all those options would be great. I'm hoping for the first one.
 
Jon MIchael Puntervold said:
Why should Dragon be larger??? S-35 is the cine norm, no reason to change that. Sure, a 70 mm alternative would be cool, but no reason to make a mess of different formats close i size...
Click to expand...

I only half agree with this. S-35 is a great format for drama but TVC Production loves a big sensor and much of the success of the 5D was due to its FF sensor. Most TVCs I shoot would rarely have a shot longer than 2 seconds. The narrow DOF greatly helps to highlight the important information in the frame as well as adding an ethereal beauty when shot well.

I would hope the Dragon sensor would have sufficient pixel density that you could comfortably shoot S35 format when required for say a TV Drama series and then if you got a job on a TVC you could switch to FF mode if required and use the appropriate coverage lenses such as CP2s. A larger sensor gives you options and choices to cover different work and compete with Alexa's and F65s.
 
I've recently decided to just get on the exponential RED wave, and not worry about it. I was debating lenses for an entire year, then just this Saturday decided to get my first pro-prime ... was thinking some long term strategy of slowly getting a set of RPP's - that whole mindset appears invalidated in just one day. I need to shift mindsets and maximize tools based on what I have now, RED has had an excellent upgrade strategy, which I'm sure will continue. From a financial viewpoint though, seems like RED has oscillated from announcing research topics as products ... to being very secretive - i'd prefer a middle ground where they gave a basic product strategy that I could plan to.
 
Tom Gleeson said:
I only half agree with this. S-35 is a great format for drama but TVC Production loves a big sensor and much of the success of the 5D was due to its FF sensor. Most TVCs I shoot would rarely have a shot longer than 2 seconds. The narrow DOF greatly helps to highlight the important information in the frame as well as adding an ethereal beauty when shot well.

I would hope the Dragon sensor would have sufficient pixel density that you could comfortably shoot S35 format when required for say a TV Drama series and then if you got a job on a TVC you could switch to FF mode if required and use the appropriate coverage lenses such as CP2s. A larger sensor gives you options and choices to cover different work and compete with Alexa's and F65s.
Click to expand...

What is TVC?

Alexa's sensors are generally not larger, but the alexa studio has a 4:3 sensor, for anamorphic use, would be great if Dragon is square as well...

F65 also has a Super35 sized sensor, no?
 
Tom Gleeson said:
I only half agree with this. S-35 is a great format for drama but TVC Production loves a big sensor and much of the success of the 5D was due to its FF sensor. Most TVCs I shoot would rarely have a shot longer than 2 seconds. The narrow DOF greatly helps to highlight the important information in the frame as well as adding an ethereal beauty when shot well.

I would hope the Dragon sensor would have sufficient pixel density that you could comfortably shoot S35 format when required for say a TV Drama series and then if you got a job on a TVC you could switch to FF mode if required and use the appropriate coverage lenses such as CP2s. A larger sensor gives you options and choices to cover different work and compete with Alexa's and F65s.
Click to expand...

Around here (Toronto) the majority of big budget national / international 'TVC' is produced on S35. Mostly Alexa, followed by RED, then film, and then other smaller formats. 5D's etc haven't seen much use.

Not too long ago we were shooting Academy 35 which is even smaller.
 
You must log in or register to reply here.
Back
Top