Today’s the final gear prep day before we start shooting a reality TV series. I can’t name the show yet, but I am really looking forward to shooting it on my Epic camera. We have mainly Epics, but have one Scarlet camera in the mix.
Keeping on top of the data backup is going to be one challenge, but I am told that’s in good hands with plenty of on set computing power at hand.
There has been a great crew brought together for this show, so will be great fun to shoot!
Category: Scarlet
Cinematography tools online by Red
Red has just added some tools for Cinematographers and Photographers that use Epic or Scarlet cameras to their web site. The new tools are 1. Crop Factor 2. Recording Time 3. Flicker Free Speeds 4. Depth of Field.
You can find the tools at http://www.red.com/tools/crop-factor
At the moment they are online but its rumoured that there may be an app version in the pipeline. I see the record time tool as the best as no other app seems to be able to do what this tool does.
Thanks you Red!
For more about Tim Bradley please visit www.sydneycameraman.net.au or www.cams.net.au
Inspirational people
I have filmed thousands of people over the years, but just recently I filmed Professor Graeme Clark, a very inspiring man who invented the cochlear implant which enables at least 95% of deaf people to hear again. Not only is he a humble friendly man, he is an absolute pleasure to work with. Prof Clark was derided by the scientific community, with many saying ‘it’ll never work.’ Well, the cochlear implant has transformed the lives of close to 200,000 people. And I had the pleasure of working with this brilliant Australian. Its meeting amazing people like Prof Graeme Clark that keeps me loving my job!
The project was for the 30th anniversary of the world’s first commercial cochlear implant. The world is truly a better place because of him!
Red Epic Pro I/O arrives
The latest module for the Red Epic has just arrived. Its the Pro I/O or professional Input output module. This module allows for many advanced configurations and attaches to the rear of the Epic to provide a central hub for essential I/O connections. Professional I/O support for audio and video is critical for large productions and the PRO I/O MODULE bundles them conveniently into one module.
Connections Include:
1x Genlock / PGM / Preview (BNC)
1x AES
2x 3-Pin XLR Input
1x 5-Pin XLR Output
1x Timecode (5-Pin Lemo)
1x GPIO (4-Pin Lemo)
1x Power (4-Pin Lemo)
1x AUX (10-Pin Lemo)
1x LCD/EVF Output (RED Display)
This module makes our Epic truly versatile and now is all you need to shoot anything from Web video through to a feature film.
Red formats & dimensions
This chart shows the resolutions of the various RED formats and their corresponding dimensions in millimeters. Created by Danai Chutinaton. Thank you for the great information.
High Resolution Download: http://www.bluepano.com/hostedfiles/…ons-Key-LG.jpg
New Epic Firmware
A new version of the firmware has just been released for the Epic – version 3.2.16. As always Red is ironing out bugs and improving with each release. They also add new features on most firmware updates.
The one major fix in my opinion with this build is that now the Epic outputs the correct size frame via HD SDI. This means that external recorders can now be used to enable direct to edit shooting with a recorder like the Samurai or the Pix 240.
The major new feature of this build is the addition of 5K HD, 3K HD, 2K HD, 1K HD formats. These new formats mean that you can easily shoot any resolution with Epic in a 16:9 aspect ratio making post simple.
The rest of the updates are :
Added 1K WS format (Epic 400fps, Scarlet 120fps)
Added Target REDCode feature
Added Post Record Fan Delay (max 1 minute)
Added 1-camera to multiple REDMote support
Added Slate Information Dialog
Added User RGB curves capability
Added RMD file import/save/apply
Added Gyro support
Added Side Handle Key Lock Feature
Added Audio Gain/Limiter Controls
Added Phantom Power Support(Hardware Rev Dependent)
Added External record mode
Added Force Restore Feature using Power Button
Added HD-SDI Format controls
Added 9″ LCD Touchscreen support
Added Dual Battery Module support
Added Rear SSD Module support
Added OLED EVF Brightness support
Added Playback Frame, Title and Action Guide status
Added PL Lens short circuit detection
Added HDMI 1080p/720p refresh rates of 24,25,30,50,60
Enhanced Keys assignment dialog
Enhanced Preset dialog
Enhanced Playback load notifications and error handling
Enhanced UI usability
Enhanced AF capability
Camera Name defaults to camera type (i.e., SCARLET/EPIC)
Fix for Playback using EVF
Fix for Playback support of 5K and 5K ANA
Fix for Zoom Rocker +/- Mapping
Fix for HD-SDI output scaling
Fix for LCD image ‘stutter’ when panning
Fix for camera freeze when changing AF/MF with Focus dialog open
Fix for Zebras disappearing after disconnect/reconnect of RED monitor
Fix for scaling of 5K clips during Playback
Fix for HD-SDI test pattern output levels
Fix for record error 0×00001E seen on some cameras
Fix for multi-clip load issue in Playback
Fix for audio in HDRx mode
Fix for frame drift with Sensor Sync = Genlock on some cameras
Fix for camera not completing clip recording to end of media
Fix for camera hang mapping actions to rocker switch
Fix for LCD w/half white screen on start-up
Fix for RED EVF connection problems
Field of View Comparator – Epic, Arri, Canon, F65
Ever wanted to know what the field of view of different cameras are and be able to compare them … well now you can.
Able Cine has made this great tool and they have recently added all the new cameras from NAB 2012. The new cameras include the Canon C300, C500, and 1DC. The C300 and C500′s sensor is almost exactly the same size as Super 35mm film; at 24.6×13.8mm it has a 28.2mm diagonal. The 1DC can record in both HD modes and in a 4K mode. The HD mode uses the full frame sensor area just like the 5D Mark III, however the 4K mode uses a smaller APS-H mode, like the 1D Mark 4. All these options are now available in our tool.
Additionally, they’ve added the Blackmagic Digital Cinema camera to the list, which has a sensor size somewhere between Super 16mm film and a 4/3rd sensor like on the AF100. At 15.8×8.9mm it has a 18.14 mm diagonal, which leads to a fair bit of cropping when compared to Super 35mm and full frame sensors. The Blackmagic Camera can record in both HD (ProRes, DNxHD, and uncompressed) as well a full 2.5K 12-bit Raw format. The Raw data is captured in Cinema DNG format at a resolution of 2432×1366, however the captured image area is the same, so you should get the same field of view in either mode.
Red One, Epic and Scarlet resolution and frame sizes
The latest Epic camera from Red is unbelievably versatile. It can shot stop frame work all the way to 300 frames per second. This allows you to do shots that just weren’t possible on almost any other camera ever made.
This chart shows currently support resolutions for Red cameras – Red One, Epic and Scarlet, as well as the maximum frame rate and compression for the resolutions. Its amazing being able to shoot 300 frames per second on my Epic(at a resolution of 2K – which is higher resolution than most Broadcast TV cameras)
If you want a DP/cameraman and a great Epic Kit www.sydneycameraman.net.au
Red releases the Epic camera
Red has released its Epic camera. This camera has higher resolution then any other camera out thee today. It also offers higher record rates @ 5k.
I have ordered the Epic and am hoping for delivery soon !
Red November 3rd announcement
Red is making a big announcement on November 3rd. There are no hints but they say its going to be big. Infact if you believe them it will out do Canon’s November 3rd announcement. We will all just have to wait and see and judge for ourselves.
Some of the news will be that you can order a Red “Scarlet” camera from November 3rd 6pm PST time. The Scarlet was a cut down version of the new Epic camera.
North Coast NSW & SE Queensland Videographer 