Luminous Landscape Forum
Equipment & Techniques => Medium Format / Film / Digital Backs – and Large Sensor Photography => Topic started by: pschefz on February 20, 2010, 01:33:14 am
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read about them here (http://blog.vincentlaforet.com/)
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read about them here (http://blog.vincentlaforet.com/)
Vincent is the David Hobby of video I guess...
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read about them here (http://blog.vincentlaforet.com/)
Maybe Zeiss knows something we don't about Canon's future plans for a better capture codec? I sure hope so! Wow this is great news.
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I wonder if the sets are matched, such that the glass comes from the same batch so they are all matched for contrast and color. $20k for 6 sounds reasonable.
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i think the exciting news is that it is now obvious that canon is very serious about motion....the dsIV should be pretty fun:)
i had 2 seperate conversations with 2 DPs last week...both shoot mostly film (or at least prefer it....) both LOVE the 5DII and use it frequently but even more so the 7D now! and both did not think too highly of the RED....which i thought was interesting....
i think we will see some very fun canon stuff this year.....and this zeiss announcement is definitely a sign of what is to come...not at the lower end but production quality...
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i think the exciting news is that it is now obvious that canon is very serious about motion....the dsIV should be pretty fun:)
i had 2 seperate conversations with 2 DPs last week...both shoot mostly film (or at least prefer it....) both LOVE the 5DII and use it frequently but even more so the 7D now! and both did not think too highly of the RED....which i thought was interesting....
i think we will see some very fun canon stuff this year.....and this zeiss announcement is definitely a sign of what is to come...not at the lower end but production quality...
Having used the 5D II fairly extensively, and being on shoots with the RED, I would say that the Red is superior in most every way to the 5DII (other than weight and cost) at the moment. The new Cine lenses may change the equation, but even the awesome 85 f/1.2 and the great 135 f/2 - which are wonderful for stills, are a bit rough in video due to breathing when focus shifting. Warped verticals when panning is also pretty rough on the 5DII, and RED has apparently fully addressed that issue on the new sensors.
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Having used the 5D II fairly extensively, and being on shoots with the RED, I would say that the Red is superior in most every way to the 5DII (other than weight and cost) at the moment. The new Cine lenses may change the equation, but even the awesome 85 f/1.2 and the great 135 f/2 - which are wonderful for stills, are a bit rough in video due to breathing when focus shifting. Warped verticals when panning is also pretty rough on the 5DII, and RED has apparently fully addressed that issue on the new sensors.
how to resolve the wip pan rolling shutter issue you have to turn the rolling shutter off. Or pan real slow like. The Red is vastly superior to the 5D2.
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how to resolve the wip pan rolling shutter issue you have to turn the rolling shutter off. Or pan real slow like. The Red is vastly superior to the 5D2.
i have no clue...they preferred the final look.....after post....they both said that the only thing they felt funny about was the huge production and tiny camera...and 3 guys just handling the camera...
but they both said that they preferred film to either canons or red....
i thought it was interesting....because for me (stills) i know that DMF will give me a "better" file at base iso....but in the end, when it all comes down to it, i simply prefer the final product from the canon.....so i could relate to what they were saying...
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how to resolve the wip pan rolling shutter issue you have to turn the rolling shutter off. Or pan real slow like. The Red is vastly superior to the 5D2.
Hi TMARK,
May I know how to turn rolling shutter off on 5d2, please?
Thanks,
Billy
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Hi TMARK,
May I know how to turn rolling shutter off on 5d2, please?
Thanks,
Billy
http://www.arri.de/camera/35_mm_film/arriflex_235.html (http://www.arri.de/camera/35_mm_film/arriflex_235.html)
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http://www.arri.de/camera/35_mm_film/arriflex_235.html (http://www.arri.de/camera/35_mm_film/arriflex_235.html)
Cost vs RED?
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The Red is vastly superior to the 5D2.
Without a doubt on image quality - but REDONE (as opposed to everything else that is not yet available) has a terrible reputation for reliability for anything outside the studio, in the cold and/or for 'fast' use...
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I don't know if it can be done, which is one of the reasons, I think, that my partners returned all four of the 5D2s we ordered. Does the 5D2 even have a rolling shutter? (Edit: of course it does) I don't know. I don't have one. I wanted to keep one for stills but before I could grab one they returned them to B&H.
I like the IQ from the 5D2 that I've seen. I think the Red is better, but where the Red comes into its own is in the handling, because its like a small(er), light(er) Arri 35mm cam, or a 16mm cam on roids. So focus pulling, dollies, PL lenses, etc all add up to real cinema looks that are engrained in our limbic system, at least in the west. The difference is apparent when we shoot something with the Sony's. Its just a different look.
The Sony EX1 and 3 is what we use when we need small and light. The EX1 is sort of disposable. It has great IQ, un fact it looks much like A900 files out of the can. It combines well with RED footage, and the Fujinon lens is really nice. The EX3 is more money but has more of its controls on the body rather than in menu and has a PL mount, and can adapt to Nikon etc.
We shoot commercials and videos with the Red, indy films now and then for fun.
T
Edited to add: A friend reports it cannot be turned off, so SOL. I hope the
Hi TMARK,
May I know how to turn rolling shutter off on 5d2, please?
Thanks,
Billy
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Without a doubt on image quality - but REDONE (as opposed to everything else that is not yet available) has a terrible reputation for reliability for anything outside the studio, in the cold and/or for 'fast' use...
Murray,
I've heard that too, but our Red, I own a third of one, has never had any issues, aside from dropping frames when writing to the hard drive rather than cards when we were jostling the camera. We shot some stuff for the airforce strapped into the back of an F22 fighter out of Langley, did mock dog fights over the Atlantic, and no issues. I didn't get to go up, that job went to our camera man, instead I talked to a Public Affairs Major about SAC and nuclear survivability. In any case, we were shooting the Red in 19 degrees F last week in Pax, West Virginia, Huntington, West Virginia and Charleston, West Virginia. High elevations, harsh terrain, snow storms. We went through batteries, and the Dodge Sprinter got stuck, but the Red was fine. We typicaly shoot a few times a year in Bridgeport, Connecticut because they are very film friendly, have a frozen in time down town (remove the drug dealers, derilicts, Armenian mobsters, and its 1958), where its very very cold in the winter. No problems.
All things being equal, I'd like to shoot more film, but that's another story!
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Murray,
I've heard that too, but our Red, I own a third of one, has never had any issues,
That's great to hear - I came to close to the big purchase of a RED systemfor an upcoming project but heard too many horror stories - it's for use in the Arctic.
I (like thousands of others) hope they get the Scarlet and Epic right...it promises so much
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really liked this one
http://vimeo.com/9243537 (http://vimeo.com/9243537)