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Erste Mini-Clips von Peter Jacksons RED-CAM Footage

First mini-clips of Peter Jackson-CAM RED Footage



Newsmeldung von slashCAM:
April 2007

First mini-clips of Peter Jackson's RED-CAM footage of rob - 25 Apr 2007 10:05:00
A first short snippets as Quicktime Motion JPEG encoded in is available for download. Here is a short film of Peter Jackson Project (we remember: The Lord of the Rings), the one with this pre-production CAM Red has scanned. The shots give a first impression of quality, with the RED CAM possible. The camera shake was added in post. Once more footage available, can the image quality in comparison to 35mm film stock better judge. Descriptive Stills are in 4k resolution, the of the gallery are downloadable at Red.com. But already these brief settings promise exceptional performance at a very reasonable price. If this is the new benchmark for image quality in the 17,500 Euro Cam-class (only Camera Body) must be established what else Manufacturer and very quickly ...

This is an auto-generated entry





Antwort von Gnet:

true !!!!!



Antwort von Gnet:

http://www.dass-das.de/





Antwort von rob:

Hello Guest,

thanks for the note, but came too late - is already fixed. It may be that the text in the forum that even with the written.

I very much hope that that does not prevent you, the main things of the text to understand ;-)

Best Regards

rob



Antwort von Gnet:

Ha! At last - now laughs None more:)))



Antwort von Valentino:

Hmm nice and good, but irgendie I will not go dull feeling that just stills from the contrast range is not really s.eine Canon 5D come. I think just the highlights on the helmets break very quickly. I think the man sowas synonymous with film footage ever compare recordings should be done but somehow never.
Just look at the projectionists, if possible, the film digitally, such as analog s.and are synonymous but mostly solid, but the footage is better. I say us as lending times, missing since the feeling somehow synonymous to believe the ninth in this forum has ever reference material of all digital cameras (Dalsa/20D/Genesis/Red etc) and seen synonymous with them really worked.
Sure the price is clearly a challenge, but I do not believe that about the big corporations need to worry. Who with a BetaSP has begun and is currently filming with a DigiBeta is next to a Sonyverlasen and XDCAM-HD422 HDCAM or buy it because he is the master Sony kunde never come to mind would be a different brand of camera to buy.
Quite apart from that I think we all agree that the camera is not just for the EB-reserved designed and thus are Panasonic, Ikegami Sonyand at EB is still the market leader.



Antwort von Filmsepp:

Jo - but confessed honestly expected more. Picture is still Videoflau, low contrast and bright points burn out. Certainly better than any Prosumercam, but who has a little budget, turns 16 or better on super 16th That looks synonymous in 10 years still look good if Videos (hopefully) quality of the film has aligned.



Antwort von Gnet:

The camera is, I think vsbei no-budget productions are still happy.
Film material is very expensive and the palpation of a digital post-synonymous, to the extent that it might be worth it with the camera to rotate, synonymous if the storage solution (RAID hard disks (?)) Is probably more expensive as the camera ...

The desired look is synonymous with the way, roll film only in the post-production.

Greeting
Martin

PS Sooner or later everything will be digitally rotated and digitally perform, it's just a matter of time. But someone must hold the top times, otherwise we would be all black and white silent films to make.
My opinion. The camera can still improve. Nothing is the beginning of s.perfekt.



Antwort von Valentino:

"Anonymous" wrote:

The desired look is synonymous with the way, roll film only in the post-production.


But that is just as synonymous since it digitally is so easy to roll film in the colors, contrast, etc. Gama to change. The first film in which something was done digitally is "O Brother, Where Art Thou?" and the was produced until 1999. Clearly the man in the development laboratory for decades to roll film changed, but that's still not nearly as easily as digital. But even older camera men still like to use color filters in front of the lens and the overload with the look of reluctant Postpro. One of the best known is SBawomir Idziak, who as far as I know is a whole collection of different filters have money.
I still synonymous personal use like a yellow filter for B & W films and synonymous'm not sure I like this effect in Photoshop or so can create.
Alone in the Grauverlaufsfilter the Postpro poorly simulated, when the sky on the material already is overexposed then one can no longer be synonymous change.



Antwort von Martin.:

Hi Valentino

Of course you're right, a digital filter in the post production will of course never be a filter in front of the lens to replace, at least not in terms of cases you mentioned (Grauverlaufsfilter order to avoid overexposed sky, etc., (synonymous but have drawbacks such filter)) But what I meant is that you just tried so many picture information and the picture completely uncorrected store, so that in the post-production profound changes can make. Thus, the look may be only in the Production of Prost. The course includes a naturally-acting original image.
This refers both to digital as synonymous to roll film. Meanwhile, large parts are often scanned the movie, to the extent that is synonymous with a digital rollfilm near post.

There are lots of reasons for and against digital. (Picture booth, recording time, loss-free processing ,...). Overall, the future of digital movies and then you should shoot digitally synonymous ...

Greeting
Martin



Antwort von steve@home:

Hmm, what I am very curious to find, is the specified data rate of 27MB / s. Calculated results with 12MP resolution, 12 bit RAW 60 fps and a data rate of approximately 1GByte / s. There is probably a fairly effective compression used?



Antwort von Andreas*S:

"steve @ home" wrote:
Hmm, what I am very curious to find, is the specified data rate of 27MB / s. Calculated results with 12MP resolution, 12 bit RAW 60 fps and a data rate of approximately 1GByte / s. There is probably a fairly effective compression used?


Used but the Redcode RAW codec, the "visual lossless" compression, as he always synonymous work like ...



Antwort von digital cinema:

To assess the stills of http://www.red.com/gallery-still.shtml: "These images are best viewed through a web browser supporting color management such s.Safari integrated with Apple's Color Sync. Use a gamma of 2.2 and color profile of Adobe 1998".
The mini-clip of Peter Jackson's Short Film is farboptimiert for Sony4K projector.
In my opinion, since the new SonyF23 (HD with 2 / 3'') for $ 150''000 building technically far not keep up. And the competition as Dalsa 4k is just to rent (p.3'000 $ s.Tag), very large and the workflow is extremely laborious.



Antwort von Axel:

"Valentino" wrote:
I think the man sowas synonymous with film footage ever compare recordings should be done but somehow never.
Just look at the projectionists, if possible, the film digitally, such as analog s.and are synonymous but mostly solid, but the footage is better.


As an amateur I'm with it - for me - priceless techniques normally barely. Comparison to the 35mm film and digital projection, I can only complement Valentino: The 2k projection of JPEG 2000 provides the same subjective impression of sharpness. Because of the perfect image we stand demonstrators initially inclined to the picture board as "better" to be seen. Indeed, this impression with the time reversed. Running parallel movies digitally and analogously, we find that a lot of digital details are missing, and this in part, blatantly extent. A dark blue woolen dark hair on (the second scene of "Pans Labyrinth"): Digital and the same sound, you could not say where the cap ends and the hair begins. The scene from "300", where the Persian messenger into the well is pushed: Digital, a black spot that is also still in the clothes of the case ends eats ...
What you must remember, is, firstly, that this technique is only the beginning (4k and better compressions come sometime) and secondly, that Kinozuschauern something would never be noticed. The view of such differences would only develop.

Is he Tonwertumfang a general problem of digital recording technology, or does not with the more compression to be done?



Antwort von Pianist:

"Axel" wrote:
Is he Tonwertumfang a general problem of digital recording technology, or does not with the more compression to be done?

It depends indeed both together. If you have a digital picture it wants to show that the full resolution and full of contrast and color of a good 35mm film is exploited, it would be of huge files sizes. Relationship would be times I think that is still considered to be technically impossible to apply.

One can only try, through the best possible hardware and software and above all by an experienced operator as close as possible to them. We have therefore already at Rotate as precise as the 35mm film work, and in all other steps as well.

Yet it may be that you are the motives of certain weaknesses in the digital process will see. But you should really sit back times and a good film on you and not the needle in a haystack search. Otherwise it is not so fun anymore, to go into movies.

Matthias



Antwort von TheBubble:

"Axel" wrote:
Is he Tonwertumfang a general problem of digital recording technology, or does not with the more compression to be done?


Between black and white areas, there is a real movie so many gradations. Digital technology is quantized here, usually with 8 bit accuracy (256 gradations), sometimes synonymous with up to 16 bit accuracy (65536 steps), the latter in the field of medical applications has a certain spread.

In many popular digital image formats, the color with 8 bit accuracy. More is now synonymous for a presentation does not necessarily make sense, since it is hardly affordable monitor, the more colors can represent clean (besides the screens must be of course synonymous image converter in the camera for the number of colors used are appropriate). Only for the post currently has some advantages over more colors available.

The real (depending on the codec synonymous lossy) compression comes only later.



Antwort von Genevare:

my first post on Slashcam.

So, we have both Sony HDCAM (HDW-750pc), 35mm (Arri IIB, which are already sold more recent) and 2 * red to order.

35mm and 16mm film is not so rudimentary clean and clean dissolved as 4k digital, schaut euch einfach mal 2k/4k 16/35mm scans in comparison to.

http://www.reduser.net/forum/showthread.php?t=1487

next bit below.

Now if 35mm film or HDCAM 1080p / uncompressed, sends the audience both in the movie charts in the TopTen if the film is good.

it sounds so hard, the cinemas in Germany cut in with ach un crack 2k resolution.

first,> 95% of all s.and budgets on b-2k-manufactured -
then analog copy several generations behind the master, and the play will not be better.
alone by the building stood in a 35mm projector bewegungsunschäfen arise, then you like the canvas easily unplan, the lenses are not particularly, then ne nice glass window between screening and auditorium ... and s.besten still a powerful 4euro the focus moves.

red is far above the resolution of the movie you get.
rather than a veteran filmmaker, I can only say this - red is a more than tiefgestimmter bang, I know dozens of producers, directors and camera men with the red of 35mm film to adopt, especially since red Sogut now as everything you missed in 35mm digital still allows (35mm deep unschärfe, Arri pl closing, 60-120p, etc.).

and 16mm with 4k/red to cergleichen .... ouch, that's hardest anfängertum.
Please check out the link just above s.wenn her 16/35/digital 4k in comparative want to see.



Antwort von Genevare:

grade or above on the contributing color gradation seen red hat 12bit color depth ...



Antwort von Pianist:

"Anonymous" wrote:
rather than a veteran filmmaker, I can only say this - red is a more than tiefgestimmter bang, I know dozens of producers, directors and camera men with the red of 35mm film to adopt, especially since red Sogut now as everything you missed in 35mm digital still allows (35mm deep unschärfe, Arri pl closing, 60-120p, etc.).

Exactly this is the camera so synonymous thought. And just for that. Who previously cinematographic or other dramatic productions on 35mm rotated, it is synonymous with the Red no problems, because the work processes, in principle, hardly changed.

But I think there are many people of the false assumption that these synonymous Camera for quick reports and documentation can be used. Of this, however, I do not. It will hardly be possible with this camera just quickly turn it off, without first thinking about Lenses, sharpness, exposure and filter to make. And it is not possible, then the material is easy to cut and the film is finished. But then it will go first in the provision of light, "because after the Rotate Picture still has not finished.

Apart from that - you could probably give away the camera and the money on the rental of lenses, get back here. When I consider what the cost required Lenses, and as I speak now not of those who are of Red - then the camera while prices tend to be negligible.

Conclusion: Only for productions which have been realized on 35mm, the Red (both of the work processes as synonymous by the technology budget) into question. The material budget of course, significantly reduced.

Matthias



Antwort von Genevare:

"Pianist" wrote:
Apart from that - you could probably give away the camera and the money on the rental of lenses, get back here. When I consider what the cost required Lenses, and as I speak now not of those who are of Red - then the camera while prices tend to be negligible.


When the lenses, one wonders, however, why so expensive. If you look at that times in 35mm SLR optics field watch, you find that you do not spend very much money needs to create a really good optics to produce. That will not happen for 100 euros, but even ingenious 3-fold zoom like the now popular 70-200/2.8 are in the range of a few thousand euros. Of course, one can in this way no 20-fold zoom produce, but in a system with changing lenses would probably not interfere too much (when the camera is cheap enough, you can simply synonymous with multiple cameras with different lenses to work).

The only reason for me the expensive HD video lenses explained, are the small numbers. And here it will be interesting. If one is a modular system like the RED, you can work with cheap optics.

The RED is certainly not the mass market it up but it shows that it is possible for new players is something s.den rules of the market to change.



Antwort von Filmsepp:

Quote:
So, we have both Sony HDCAM (HDW-750pc), 35mm (Arri IIB, which are already sold more recent) and 2 * red to order


The ARRI IIB is of the 1960th According to, not because geblimpt. Ensure that their professionals are?

Quote:
35mm and 16mm film is not so rudimentary clean and clean dissolved as 4k digital, schaut euch einfach mal 2k/4k 16/35mm scans in comparison to.


Thanks for the argument. Clean and clean which is more for advertising and porn. Beautiful, artistic films have atmosphere, breathe, have grain and image restlessness. ALSO: Megapixels are not the crucial, but picture quality. And these include synonymous contrast and Tonwertumfang.

Sorry, but I find the Picture of REDCAM compared with film (16, Super 16 and 35mm) really bad. And if I had the budget, a short film in the First World War to play (Dekokosten!), The few thousand euros for the copying work is not really disturbing. The film would be adopted by her LOOK at any rate much better.

Quote:
and 16mm with 4k/red to cergleichen .... ouch, that's hardest anfängertum.


I do not know if you ever with 16 or Super 16 have rotated. The picture usually looks despite sampling a number of intermediate steps and MUCH better than this Redsample. Most television movies, including synonymous Tatort etc. Super 16 to be rotated. And here are some details in order with the fairytale of expensive film stock tidy: With a few connections to TV cameramen (internship or just call), there are constantly 16mm residual material. For this I pay nothing. Copying the work will cost no more than 2000-3000 per short movie (unless one introduces material battles). The scanning is done by simple Abfilmen of a screen with a good DV, HDV and Betacam (you can for the day synonymous times rent). If it does well, we see no or almost no difference to Profibtastung. I got in this way, my last short film (after the film school, that no longer have access to technology and material) and rotated the transmitter hats off. Even more: With the 16mm, I am only slightly more expensive there, but had strong, bright colors, a great picture with great contrast impression scale and was on so many festivals alone in front of the video competition. I count the cash prizes will be offered, which I have no footage perhaps would not have obtained, I have with even a 16mm thick Pros done.

My Personal Conclusion: 16mm is ideal for Short Film, HDV is very good for documentaries.

Only those who have a petty, clean and slack Picture, is with the current REDqualität my mind happy.



Antwort von boessu:

Hello Sepp Film

The arts in worship, but the film does not live much longer. All your desired effects are now done digitally. A beautiful example is "300". Even if the movie I do not particularly feel the effects and often a bit too thick were it shows the possibilities.
It runs similar to the digital photography s.with: Initially they were all very skeptical about the artistic touch of the digital photography swattish. Finally, it is now so that little more of a chemistry based on Picture a great opportunity to have photo contests. The digital images nähmlich show exactly what the artist wanted. When chemistry is rarely exactly at the picture, of the time to find out whether it really reflects the views not to mention.

I assume that the chemical in 10 years the cinema has disappeared. A receipt would be alone in terms of distribution costs and the recovery chain is not logical.
I do, however, synonymous assume that independence artists increasingly synonymous with the material can work synonymous which uses a large production. The compromises the quality of the material compared with the blockbusters are concerned, are smaller or disappear altogether. Independence may be synonymous productions of the direct distribution opportunities to benefit and with much less effort in the recovery chain once owned.
I think at this point we should be pleased.

Cheers

Bössu



Antwort von Pianist:

"boessu" wrote:
I do, however, synonymous assume that independence artists increasingly synonymous with the material can work synonymous which uses a large production. The compromises the quality of the material compared with the blockbusters are concerned, are smaller or disappear altogether. Independence may be synonymous productions of the direct distribution opportunities to benefit and with much less effort in the recovery chain once owned.
I think at this point we should be pleased.

Just as it is. I would be a political film of even the addition to the fact that the simpler and cheaper access to high quality means of production and distribution routes are not only more artistic freedom brings, but more synonymous information and freedom of expression. This is good for our democracy and is synonymous in countries with less democracy in new democratic developments.

Matthias



Antwort von rideck:

@ Film Sepp
So sorry, but that the sampling with an HDV Camera s.die comes a Profiapperatur is not only ridiculous but simply wrong. I know the men at random by the Fraunhofer Institute in Freiburg, for the settlement and the sale of Abtastgeräte in Hollywood was responsible. (Are all of Fraunhofer, because the technology leader in the segment). There, incidentally, any film, in larger quantity on the pond around him goes abgescannt faster s.mehrere copying works next to smuggle. The complete film, not just part! The quality you could almost not good with DV, HDV and Betacam achieve apart of the resolution. And it may be that in the Red Contrast not as nice as your life is highly praised 16mm, suggests that in the detailed resolution but high house and with a good projection, which is synonymous if not many are seen das I admit grit and Co have something living, what you do in post production such as digital material can not reach, but there are productions who want a clean look and not just in documentaries and porn.
I hope that you times the jury at the film festival through your content and not your looks could convince, to congratulate you on the film, maybe it was for a Red:)
Greeting Rideck.



Antwort von HoasBuacha:

Hello Sepp film,

you wrote:
"The ARRI IIB is of the 1960th According because not geblimpt. Sure, that its pros are?"

I think after 17 years of German movies and TV can be with us commercial intentions quite suspect. The newer 35x are all gone. 35mm, we use little more, are largely based on HDCAM. The pictures of the IIb s.rande see but not a bit worse than others brand new 35x cameras, notice, film = film camera housings.

your production 16 (s16, hopefully) n.dann of canvas via HDV abfilmen harmoniously combines the disadvantages of film and cheapest cheapest hd size, grain and crude GOPs - fascinating. because you would need almost 3 in the filter postproduktion to look so far to get dirty.

s.rande, you have already noticed, the different channels, for example, the BBC, no longer allow 16mm?



Antwort von Schleichmichel:

Although I am a friend of synonymous footage, but you should not everything verteufeln what the good old material slowly Rank expires, Sepp film.

Perhaps my attitude, therefore, that my first digitally recorded "movie" that I saw, "The Celebration" was. About evil exposures, schäbbige colors, bold DV dropouts ... but an atmosphere that is washed. I've NEVER while the film quality s.der disturbed.

So it is obviously not even s.Schluss the image quality, which makes the experience, but the way you have something to use ... and you make a mistake thinking about the film makes ( "Tatort" ... tz-tz-tz. Was he there? No, the other has a motive ... ah, it is but he was ... no, he only wanted to protect ....).



Antwort von Axel:

"boessu" wrote:
I assume that the chemical in 10 years the cinema has disappeared. A receipt would be alone in terms of distribution costs and the recovery chain is not logical.


A bit off topic, but what the "digital rollout is concerned, the conversion of cinemas to digital projection, thus saith the financial logic for the time being analog. A 35mm film projector, depending on the maintenance works between 30 and 50 years, wear parts in the mechanics are cheap and can be changed by the presenter. A DLP capita cost ten times (yet), and the extremely expensive chips have completely changed. A system crash is far more tragic than the classic "Filmriss". A similar mass copy (~ 500 ¬) and their transport are given little weight. Apart of the hard disks, with which the film is distributed, is for digital cinema in all its aspects expensive. For large cinema halls with more than one would have everything on a central server, so flexibility for better utilization of guarantee. Such a conversion would cost millions. Money that is set in the sand would be if next year a new technology on the market would. With declining numbers of visitors a bill that does not work.

"boessu" wrote:
I do, however, synonymous assume that independence artists increasingly synonymous with the material can work synonymous which uses a large production. The compromises the quality of the material compared with the blockbusters are concerned, are smaller or disappear altogether. Independence may be synonymous productions of the direct distribution opportunities to benefit and with much less effort in the recovery chain once owned.
I think at this point we should be pleased.


For cinemas sees things differently. Relatively small screens allow the use of beamers (~ ¬ 30,000). The stupidity of big productions, the chance for independent films. The effort, every major production as a "blockbuster" to market, has led to a devaluation. The BigMac Movies dies. Klug, who is based s.Inhalten and Freedoms a cheaper way of producing uses. So Red-Cam.



Antwort von Valentino:

@ Axel

In the large and I give you all right, but this DLP Pro / Contra story already has a full time discussed.
If you still do not know, then I recommend you and all other users on this issue following



Antwort von Filmsepp:

Hui ... da gibts but lots of wind, just because I am of the - in relation to the advertising drum - a modest picture of the Red did not care. I will not talk about that film. Who with (RED) is happy video, which cares so happy to do so (I am turning to film next to the cashier and laurels, hehe).
But here is still a couple of times Replies, if synonymous OFF Topic:
1. Samples (@ Ridick): Just try it yourself and be amazed. The quality is great good if you have something to experiment and the results beachtetet. All the scanners I know of no preference whether or Bosch of Philips work this way: On one page is a lamp in the middle of the film material and the other a CameraLink (or Kodakoptik) with either the tube or with CCD 's funtioniert. A small projection of the film on the camera also. Sure you can severely scratched footage WET by scanning again rescue, but I do not need because it is new to me. I do exactly the same as the Abtastapparaturen and movies from a projection. There are of course synonymous SCANNER, the Picture for Picture scanning, but that is not synonymous to the technical state of a normal scan, which I otherwise would. And I reach this quality synonymous. And still a technical challenge draufzusetzen: Currently I am experimenting with effective closing date of footage using a DLP projector. The quality is sometimes not at all bad (but now please do not agitated posts).
PS: Yeah, at the Fraunhofer Institute in demand, because I'm interested in. That what you mean is not scanning, but closing date of film material. The sheer fact and therefore certainly not with an HDV - Camera to make :-).
2.
Quote:
The images of the IIb s.rande see but not a bit worse than others brand new 35x cameras, notice, film = film camera housings.

The image quality is certainly not bad, but I do talkie. Hence, one 1960s ARRI IIb for me no question that it is quite loud and clatters.
NEGATIVE 16mm film usually has absolutely no coarse grain. Unfortunately. There must be Super8 film or reversal film or extremely highly sensitive material. Presumably you have previously worked with such a thing. On the contrary: even at 16 or Super 16 it must be careful not to clean them. See Rosamunde-Pilcher-films. "Dirty look" I will not synonymous, but CONTRAST COVERAGE. Especially night shots with film succeed much better. But synonymous bright objects in the background. Example: Interior / day. Man stands in front desk, with windows in the background screening on ramshackle old building facades. Outdoor sunlight. With film, I see the man in the foreground (geleuchtet), the desktop and through the window, the facades in the sun rail. Kommt gut. And truly the whole video .. ahem!
Specifically: With video, I lose opportunities. The Picture is synonymous just a narrative level, the video will be massively curtailed.
Schleich @ Michel:
I have "the feast" synonymous seen and was thrilled. As an example, but not good for much, because the detention would have been equally classic film rotate with similar or better result. The advantage of video comes closer to "idiots" of Lars Trier part of, also a Dogma film. It was on the SonyVX1000 rotated, which offered opportunities semidokumentarische: The camera was so inconspicuous that the actors in the public concern could not be complied. The reactions of passersby and residents on the "disabled" were real and not be asked. This would be achieved with film because a film crew always looks professional and attracts attention. Therefore, I believe HDV synonymous for a blessing, as documentaries are concerned. It's inconspicuous enough synonymous and you can take a panoramic look at risk, even if the movie is ... Inconspicuous with a RED to work, however, is a contradiction in terms.
3. "DV DEMOCRACY": If this is often times synonymous and should be mentioned by RED better. I think not. So far, the data-dissemination only meant that the festival will be flooded of &



Antwort von HoasBuacha:

"Film Sepp" wrote:
"Dirty look" I will not synonymous, but CONTRAST COVERAGE. Especially night shots with film succeed much better. But synonymous bright objects in the background. Example: Interior / day. Man stands in front desk, with windows in the background screening on ramshackle old building facades. Outdoor sunlight. With film, I see the man in the foreground (geleuchtet), the desktop and through the window, the facades in the sun rail. Kommt gut. And truly the whole video .. ahem!


And what brings you the high contrast film, if you then with abfilmst video?

Kleiner Tip: It will give headlights ...



Antwort von Filmsepp:

Quote:
And what brings you the high contrast film, if you then with abfilmst video?
Quite simply: It looks good! You see in the above example, the man in the foreground, the desktop, the window and the bright facades behind. And synonymous to the video scan. With a video shoot would be at least the windows in glistening white out or the front desk man in black abgesoffen. No matter how lit (for this scene, I and my team four hours eingeleuchtet, DESPITE film on the Videoausspielung was nothing useful to recognize).
Quote:
Kleiner Tip: It will give headlights ...
Huh?



Antwort von Ikaron:

Quote:
Hui ... da gibts but lots of wind, just because I am of the - in relation to the advertising drum - a modest picture of the Red did not care.


I would be interested to know where the picture you've seen the Red want. During the presentation in Los Angeles, Amsterdam or Las Vegas?

I have it now on several different materials with 4k seen, and the picture is far better than anything from what you might S16mm per herauskitzeln. And although in resolution and sharpness, noise & grain freedom, etc. Farmdifferenzierung

Quote:
I will not talk about that film. Who with (RED) is happy video, which cares so happy to do so (I am turning to film next to the cashier and laurels, hehe).

Well, enjoy the feeling as long as it still goes to you and read in again by 3 years. You remember very s.die poster, the 1999 digital SLR cameras, etc. refused.

Quote:
But here is still a couple of times Replies, if synonymous OFF Topic:
1. Samples (@ Ridick): Just try it yourself and be amazed. The quality is great good if you have something to experiment and the results beachtetet.

At 35mm so, at 16mm, no. 16mm has-always-on strong grain and zuwebig resolution / sharpness.

Quote:
I do exactly the same as the Abtastapparaturen and movies from a projection. There are of course synonymous SCANNER, the Picture for Picture scanning, but that is not synonymous to the technical state of a normal scan, which I otherwise would. And I reach this quality synonymous.

You scan through a cheap lens, probably plastic, the strong lumatische and chromatic aberration is expected to add to a sensor block probably nihctmal 700 lines dissolve and lead a data reduction to <25> = 500 Asa.

The objective of a camera, however, no interference add.

"Dirty look" I will not synonymous, but CONTRAST COVERAGE. Especially night shots with film succeed much better.


Sorry, Schwachfug. From the light sensitivity are digital cameras with 600, 1200 or see Apocalypto synonymous asa 3200 (Panavision genesis) is significantly better.

But synonymous bright objects in the background. Example: Interior / day. Man stands in front desk, with windows in the background screening on ramshackle old building facades. Outdoor sunlight. With film, I see the man in the foreground (geleuchtet), the desktop and through the window, the facades in the sun rail. Kommt gut. And truly the whole video .. ahem!

And once again wrong. For years, no longer a problem. 11-12 visors, you can now digitally comfortable ride. How much you riskierst wide apertures in S16? 12?

Quote:

Specifically: With video, I lose opportunities. The Picture is synonymous just a narrative level, the video will be massively curtailed.

In your case, your competence veursacht, not by video.
You obviously do not have access to a high DI, in the process both as bleichbad, störartefakte such as grain, etc. at the airport up and runtergeschraubt them.

Quote:

A secret REDCAM for observations to be used, such as in Chechnya because of the size is absurd. This ranges from computer completely.

It is always funny - pan scan, ausschnitsvergrößerung ... just as keywords. Furthermore, do you get when tens of IR transmitters are no longer sold, S16 partially uach no longer, for example BBC.

Quote:

So what should bring? Well, at least a good market for REDCAMs.

Honestly? You have obviously an emotional relationship to film, and that's fine and thy good, artistic synonymous, right. That is still a long way from that



Antwort von chemicalfilm:

jmd is the forum for the RED has appointed, or plans?
I have so long auseinadergesetzt and find them, synonymous if there are other opinions, by building her very convincingly. I am convinced 35mm film and have traditionally been skeptical about the video medium faced, but the RED, I think for a little less budgeted advertising / image film is extremely interesting because of the workflow, at least in well-2K with Final Cut Pro runs quite well, and already 2K for that price I think is very interesting. and: I feel just as important, the dynamic range, after the first images in any case is higher than anything else under 50mille.
In contrast to other opinions, I find the images synonymous no slack, but more than cinematically. if peter jackson the mat. jmd before 10 years have shown, there would have been only one answer: 35mm, scanned clean. if the part well with Final Cut Pro (or other edit) runs is a huge chance for the indie scene: it counts only creativity. I think it is good that the technology is affordable and some are no longer behind his "expensive" technology can hide, sometimes synonymous if the incumbents do not like is that their DigiBeta equipment with a stroke is practically antique. if you think about what just a p + s film adapter costs, the red more than a bargain, and the quality you get with its adapter h1/and and never give out about synonymous loose 20.



Antwort von grovel:

The most exciting s.diesem thread I find that so many professional producers einfinden, all only on 16mm or 35mm filmed and now have to either remain or are already 4 pieces of revolutionary RED cameras have ordered.
And these people appear suddenly, it is not that it matters to otherwise in 16mm or 35mm here in the forum only as swarms of experts.

I watch the whole easy to continue with popcorn.

SeeYa Groveler



Antwort von Pianist:

"Groveler" wrote:
I watch the whole easy to continue with popcorn.






Antwort von Sascha:

Quote:
jmd is the forum for the RED has appointed, or plans?


we have 2 soon, quite early in 2006 - 2nd after I 4k images projected run of red seen.

Quote:
I have so long auseinadergesetzt and find them, synonymous if there are other opinions, by building her very convincingly.

have you seen it already running? if not - haul as soon as possible. ist klasse.

Quote:
I am convinced 35mm film and have traditionally been skeptical about the video medium to stop

89-2002, we have mostly 25mm worked, 2002 started as an alternative to HDCAM and 35mm travel was becoming less and less. s.red we will probably only 35mm or as an exceptional case to use.



Antwort von Filmsepp:

Since my opponent starts itself Answers relating to write, so now he has another sparring partner, so thanks for the match.
Quote:
Well, enjoy the feeling as long as it still goes to you and read in again by 3 years. You remember very s.die poster, the 1999 digital SLR cameras, etc. refused.
thank you, I will do. I think it is fundamentally important and right that there are early adopters, as they are on the way to sophisticated models is essential. And just as I 1999, a digital SLR camera would be purchased (which I won in 2004 with the Canon 30d after) I would now slack Red on a rotate, while there is still film funding and resources for S16 .- there:)
Nevertheless, I eagerly wait for the digital cam, the 35mm and S16 of the water can. Clearly, the Manufacturer on the way to earn something to research to be able to push forward. In this sense, thanks s.die good-natured financiers unregistered / chemical film. This time a still synonymous Dankeschön s.Slashcam. I always wanted me to buy the Pana HVX200, but after your comparison, I have now decided the Canon XHA1. I will now turn Dokfilm in Asia and am curious to see how they cope with the humidity comes. If the RED once been more mature and satisfactory storage facilities (Dokfilm material = 50-70 hours) I will book myself understandable. Perhaps sogarbei unregistered / chemical film, when the then retirement is not.

Ciao
Film Sepp



Antwort von chemicalfilm:

what configuration did you order? the hard disk? red or red ram drive? or flash?

I'm not sure what the best solution here is, is little info drüber



Antwort von Sascha:

something comparable to the HVX200 and canon.

these comparisons are quite nonsensical. The HVX200 is a totally different camera and offers significantly more features for the visual design. doku camera than the canon is perhaps better for creative work such as variable frame rates, etc., the HVX200 is clearly a better choice.
just staged for emotional pictures is the image hvx in this segment is the best camera. whether the canon 10 pixels or more, I do not think in relation to the overall impression of the images for any secondary.
We often set as a second camera, when the great Arri is too bulky. optimally set, the 200 shiny native fullscreen footage, particularly synonymous with 50 b / s. and it has better optics, all things important to us are a bit more resolution, the only man in the laboratory test can measure. differences can be seen right then actually only back in the big HD cams.



Antwort von Filmsepp:

Quote:
The HVX200 is a totally different camera and offers significantly more features for the visual design.
Who can read, is a clear advantage: The Canon is a Dokfilm thought and holds the Slashcamvergleich stood with the HVX. No more and no less. Therefore, it is in the amount s.zu foreseeable material the clear favorite. So what's with the HVX does not, unless you want to spend the whole backpack full hard pack (3-4 terrabyte). Similar problems arise with regard to the RED, which is why someone above already mentioned logical that as a documentary tool to use will be.



Antwort von Pianist:

"Film Sepp" wrote:
The Canon is a Dokfilm thought and holds the Slashcamvergleich stood with the HVX. No more and no less. Therefore, it is in the amount s.zu foreseeable material the clear favorite. So what's with the HVX does not, unless you want to spend the whole backpack full hard pack (3-4 terrabyte). Similar problems arise with regard to the RED, which is why someone above already mentioned logical that as a documentary tool to use will be.

I participate myself s.sich not s.Diskussionen about small cameras, but I would just like to again mention that the comparison between the HVX and the Canon does not work, since the HVX is a DVCPRO HD Camera and in the Canon is a HDV-camera acting. If synonymous sure the restrictions up front s.Lens and the chips to look, so is the signal, which then backwards on the P2 card is written, much more stable than the meager HDV signal.

And of course it may at first glance appear as a simple, get a backpack full of mini-DV tapes to pack instead of a backpack full of hard, but just who is a long time and under difficult conditions turn, may have fewer worries when he twice daily on plates secure than if it was on mini-DV cassette familiar. You are not a bunch of money for a trip around the world, then of cheap mini-DV tapes to be dependent.

Myself, the theme of "Backup" so synonymous in the near future the first concern when synonymous with a different camera.

Matthias



Antwort von Roland M.:

Quote:
And of course it may at first glance appear as a simple, get a backpack full of mini-DV tapes to pack instead of a backpack full of hard, but just who is a long time and under difficult conditions turn, may have fewer worries when he twice daily on plates secure than if it was on mini-DV cassette familiar. You are not a bunch of money for a trip around the world, then of cheap mini-DV tapes to be dependent.
I do not understand the argument, because for years I have broadcast material on MiniDV've rotated (only VX2000, PD170 then). Have even used regular Sony tapes and never had problems with dropouts. There is also synonymous MiniDV cassettes in Brazil as in every large town to buy, while there with mobile hard disks are still quite poor could look like. And if such a backpack gets dropped several times (at motorcycle and bus inevitable), then I would like to have no hard disks. I think rather that something RED practical MiniDV tapes as needed. Time, a different question: How should you present with a 4K RED because record? Do I need a PC because hintendran?



Antwort von digital cinema:

@ Roland M.

The following memory options:

RED DRIVE 320GB (approximately 3h Redcode RAW 4k and 24p)
Dual 160 GB 2.5 "SATA Hard Disk Drives

RED RAM 64GB
Dual 32 GB 2.5 "SATA Flash Memory Drives

RED FLASH (CF) Modules
Camera Read / Write Module for CF flash media
(media is not included)

RED FLASH (EX34) Modules
Camera Read / Write Module for ExpressCard/34 flash media
(media is not included)

FLASH RED (SATA) Modules
Camera Read / Write modules for SATA 1.8 "Flash Media
(media is not included)

RED RAW PORT Module
Camera Mount Assembly Ethernet - Optical Transceiver * Factory installed option. RED FLASH installation removes options from system configuration.




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