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New Red Camera - Raven


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#61 bill h. hendrickson

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Posted 14 October 2015 - 02:58 AM

don't be sorry Robin. Tyler has lost his mind. For one he started off saying he's hasn't shot much with the red and does post. and its obvious .  . I shoot with both alexa and red so I'm not too partial to either . but for him to even say that about the blackmagic camera and how good it is? he's even saying how good the black magic thats unreleased is he's just looking at specs on a computer screen theres more too it then that the sensor could be 12bits or what ever but look horrible . Ive used the current balck magic thats on release and there is no comparison .  He also stated he's more of an ENG guy. thats obvious too he does not understand current digital cameras at all.  I mean he gave it away after what he said about the f65.  I mean please no one let this guy near a camera if he has never used a red camera before is this the guy you want running the test? the F65 is more complicated I think he won't know what to do with it. he also commented 128bg hold small amount of r3d footage of 3:1 on the card.  Hello I guess you never shot with a arri shooting RAW its much worse.  Or an F65 do yo know how much space they take up. its crazy because every point you make about other cameras can be said about every camera including the alexa and including film.  Also he states to put the camera to the lowest ISO, just goes to show he really does not understand digital cameras or how they are rated. The sensors are like film depending what camera you use the rated ISO will be the best performance not the lowest. 

I mean people are bing nice and don't want to speak up but with every passing post he writes he really does make a fool of himself.  I really think that if your going to have an good discussion lets limit his posts or not take them to seriously since you have not  shot with the red  much but you really speak a lot about it . really docent seem like you’ve shot with any thing new.

and again sorry but every camera you use needs accessories to work even a film camera.  TYLER obviously has no idea about buying cameras new ones / cinema ones . The ALEXA evf which is an "ACCESSORY"costs near 7k more expensive then red so why would he say that . ..what about batts? mounts ? rails? evf cables, on board monitors ?? does tyler consider those accessories ? i hope .. because you need those too to work 98 percent of cameras including his lovely Alexa.  which I love and imnot saying anything bad about it just that tylers comerisons don’t amok sense.  Lets hoope he brings an assistant for these F65 test he might think he just needs the F65 body and the image will suddenly appear out of thin air , because i guess RED cameras are the ones that need these "ACCESSORIES" all other cameras just work , no batts, no monitors, matte boxes, audio,.

 

 

I have done plenty of perfect keys with red and may cameras even balk magic . I suggest you find new VFX guys. Im sure the HOBBIT which spent close to a billion dollars with all three films and did test would have chose another camera if it would be bad for VFX. So because you had a bad experience with green screen it means the cameras bad and all green screen will be bad. What about my green screen experience ? mine was perfect so what your right and every one is wrong. The film makers actually out there spinning millions and millions and can pick any camera they are wrong and you sitting at your post computer is the guy that know.  

 

please guys I’m not a red lover or hater but lets be realistic with this Tyler guy I beg.

 

sorry for the grammar I wrote this fast and on a phone .


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#62 bill h. hendrickson

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Posted 14 October 2015 - 03:07 AM

oh one more thing try not to insult other film makers movies because they shot on a camera.  Tyler said he commented to his fellow peers after seeing am ovie and know it was shot on red and how bad it looked. your pretty much also insulting DAVID MULLEN because he some times chooses red.  Im pretty sure what ever film tylerr saw the film makers are laughing at tyler because he's worried about the camera and they having fun maing huge million dollar movies with millions of people enjoying them . have some respect just because your not as successful as them don't bash them for the camera they use. Is tyler saying everything Ive shot on a red is horrible and the alexa stuff is the only good stuff.  There goes some of that beautiful david mullen work . 


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#63 David Mullen ASC

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Posted 14 October 2015 - 12:23 PM

Tyler is passionate about images and I will cut him some slack if his criticism is driven from love rather than a nasty attitude...

 

But at some point, you have to look at the flaws of any system, film or digital, honestly and objectively, and file that in the back of your head, because movies are not about showing off a technology, they are about telling stories with mood and atmosphere under the constrictions of time and budget, and in collaboration with other artists like the director, actors, editor, etc.

 

Back in the days of film, I remember talking about how much I loved David Watkin's work, and someone said to me, "but then why does he shoot on that crappy Agfa stock?"  I was as aware of the pros and cons of Agfa as anyone, and I'm sure Watkin was too, and clearly he made a decision that the Agfa stock fit his sensibilities and style and he worked around the limitations (mainly by overexposing the stock, which he naturally did anyway).  I only bring this up because on a purely technical level, you could argue that Kodak color negative stocks at the time were technically superior in terms of accuracy of reproduction and consistency in quality, but artists have more priorities beyond the merely technical, and they also see images in an idiosyncratic way.

 

I've seen plenty of good-looking movies shot on Red cameras, with lovely skin tones, to know that it is possible to shoot a good-looking movie on those cameras and there are a number of cinematographers that I respect that use Red cameras regularly.  But I am also aware of the image characteristics of that camera and its operational strength and weaknesses, because that's part of my job.  And sometimes you pick a camera for more reasons than simply the image, you have to factor in size and weight, robustness, ease of use, crew comfortability, producer confidence, post house capabilities, BUDGET, etc. and each project has its own challenges, and its unknowns.  


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#64 Oron Cohen

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Posted 14 October 2015 - 12:44 PM

I understand where Bill is coming from and also really respect Mr Mullen reply. 

 

I would just ask, if possible, even though Tyler is super passionate and all, it will be nice to go back to this thread subject, which is, this great compact camera, that does a lot for a (very) reasonable price! 

 

I shot on Dragon 4K before and it looks great, and if it's same sensor I don't see a reason why this won't look great.  

I personally have decided not to own equipment, so I'm not going to buy it for now, I think it's better and more professional to rent per a project, especially that what really worries me before every shoot are the lenses, and a good set of lenses cost like 5-10 Ravens anyway, which leads me to my next point..: 

 

it'll be really good if they'll offer this camera with a PL mount as well, that will be great for many people. 


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#65 Adrian Sierkowski

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Posted 14 October 2015 - 12:49 PM

I'd like them to make an MFT version so then you can throw any mount you want on it (basically). But, I almost think it'll just be EoS


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#66 Satsuki Murashige

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Posted 14 October 2015 - 03:38 PM

Yep, great test! Wish I had a dime or I'd do the 35mm test! Maybe if I get into production on my next film I'll have some left over stock. :)


F65 test put on hold, the one rental house that owned one up here has no plans currently to replace its stolen package. Could do F55 instead I guess...
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#67 Tyler Purcell

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Posted 14 October 2015 - 08:25 PM

F65 test put on hold, the one rental house that owned one up here has no plans currently to replace its stolen package. Could do F55 instead I guess...


Maybe? I mean if you have the time and are there, you could just shoot the test. :shrug:
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#68 Tyler Purcell

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Posted 14 October 2015 - 10:19 PM

he's even saying how good the black magic thats unreleased is he's just looking at specs on a computer screen theres more too it then that the sensor could be 12bits or what ever but look horrible.


Blackmagic makes a complete package; 4.6k S35mm sensor, PL mount, OLED viewfinder, shoulder harness/handle and uses standard V-Mount batteries and storage cards. It has standard XLR inputs, built-in mic's (4 channel audio recording) shoots universal non-proprietary 12 bit Adobe Tiff CinemaDNG format OR 12 bit Pro Res 4444, which allows native integration with DaVinci, Premiere, Avid and Final Cut Pro. All of this for around $8000 USD, including a decent amount of storage.

If the RAVEN used universal storage, universal batteries, universal I/O built-in and reasonably priced (cheap) accessory package, I can see some comparisons. Yes, Blackmagic could also screw the pooch on their new 4.6k imager, it could be utter crap like their so-so 4k imager. However, I know that won't be the case because they've made leaps and bounds in quality since their first cameras and have finally come up with a decent package. The only question is how close it will be to the Alexa, because unlike RED who are doing their own thing, Blackmagic seems to be focused on making their cameras look like Alexa's.
 

Also he states to put the camera to the lowest ISO, just goes to show he really does not understand digital cameras or how they are rated. The sensors are like film depending what camera you use the rated ISO will be the best performance not the lowest.


Sometimes you don't want the grain of 800 ISO and can't run 10 stops of ND filters to compensate because you go between indoors and outdoors in a single shot.
 

and again sorry but every camera you use needs accessories to work even a film camera.


When I use to shoot on film, I had a camera body, magazine, battery and lens with screw on filters and a mattebox. Sometimes a sound guy would show up, other times I'd shoot MOS. Directors trusted me to get the right shot. It was so freeing to just grab the camera, throw on a mag and go shoot, no cables, no accessories, not even a follow focus or rails. People shot like this for decades before the industry came up with specialized accessories which are for some reason "must have" or you can't shoot anything.

Worst of all, camera manufacturers have gotten into the habit of advertising lower prices and forcing users to spend thousands on specialized accessories to make their products work. They just expect people to except this trend, but in my eyes it's unacceptable. It's one of the reasons I bought the pocket cameras instead of something else. They're as "standard" as it comes for everything but the viewfinder adaptor, which they don't make, which was 99 euro's, which is not really a break-the-bank financial decision like most of RED's mandatory accessories.

Plus, we're not talking about a $20K+ camera, we're talking about a sub $10k camera and likewise, it's designed for people who can't afford a $20k+ camera. So why should the sub $10k camera's which are designed to save money, follow the same crazy accessorizing patterns as their vastly more expensive brothers? It's just absolutely ridiculous!
 

The film makers actually out there spinning millions and millions and can pick any camera they are wrong and you sitting at your post computer is the guy that know.


I'm depressed with the quality of today's digital movies. Most of them look like television, like an experiment in one way or another. Out of calibration projectors, over use of computer special effects, over-kill during finishing (color), pushing technology past it's actual potential to prove a point, it's hard to tell what is going on in a lot of films. They've turned into eye candy for the most part. It seems that most filmmakers shoot with digital as a way to experiment. Intermixed with the crap, are some amazing films shot on digital. "Skyfall" is one that stands out, Roger Deakins pretends his Alexa is a film camera and guess what, it pays off. So digital cinema CAN look good, but it actually requires less experiment and more "standard" filmmaking practices. Very few people are willing to do this and that's why I love film so much. Film has pre-determined boundaries due to camera size, sensitivity ratings and sharpness. It can easily mask poor filmmaking by roughing up an image. Even poorly shot movies, can look somewhat decent on film.

All of that to say... I care a lot about these things. I spent the last decade working in the field of digital cinema/broadcast technology. I've been to the SMPTE meetings, been to the television academy meetings, I've been to the DGA/ASC meetings. I've worked with the designers/developers of many pieces of technology, so I could integrate it into the products I developed. So yea, when I say some something ludicrous, there is some reasoning behind it.
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#69 bill h. hendrickson

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Posted 14 October 2015 - 11:31 PM

this post refers to post #68

 

 

 

all your statements are wrong buddy.

 

lets start with the first

BM is not complete all this things you said... EVF, batts , things like that are those "accessory " things you keep talking about and are sold separate by BM or third party like every other camera manufacture and film camera..

RED does an does not use proprietary Batts.  you can use standard Vmount or gold mounts with it . obviously you have no idea what your talking about as you did not even know you could use V mounts with a red.

so your first statement proven wrong again you don't know what your talking about.

 

Second

again you know not what you talk about .. sensors now are like film and the ISO is what they are rated at shooting 800 will not give you grain with proper lighting . If you reduce the ISO in 99 percent of cameras your losing things like DR and quality.  so agin your speaking out of term . please no more of that  Again you don't use reds so how can you comment on grain .  I use them every week Im 100 percent more qualified to speak of the grain  if you use the ISO to 250 you image will look worse.. Like rating film below or above its noted ASA

 

 

third

red has no mandatory accessories . the only one would be media .  you can run the rest of the camera with cheap third party accessories like monitors batteries a phone to change all the setting.  Again your making arguments and making your mind up with out knowing a lot and your confusing new comers like your self about digital cinematography.  Ill say it again there are no mandatory red accessories.. only media .. you can have the camera woking with thousands of third party accessories.  

 

come to think about it you can use a recorder with red.. so actually you could just buy the brain and thats it from red and everything else to run the camera you could buy separately. you don't know this of  but you still make comments about it why? take a step back and realize you don't know a thing about the camera .

 

and please don't be mad you can't afford red things thats does not mean you have to bash it ... they are no different then other camera companies in terms of pricing that are in their league.. check out sony's media cards how much they cost...F65 I'm talking.  check out how much simple cables and EVF from arri cost.

 

Oh yes lets talk about your film days .. looks like you technique of no follow focus , no monitor for clients, directors .did you well because now your on forum giving bad information and sitting at a desk in post . see what happens is in life  people grow up and figure out how to do things better.  Like a follow focus so that when you focus the lens you don't sake the whole lens and have a shaky image. or its also useful so your AC can pull your focus and you can concentrate on the important things like framing and movement.  see if you would have progressed you would  figure out that those "must have" things are actually useful and will make better images.  or cables so clients and directors cans look at monitors and see the crap your shooting, its not about trust, film making is a team effort and directors , producers, make up artist , VFX people  like to be able to give input and not let people do what ever. so please don't refer to them as useless there a good reason for rails and cables

 

i mean come on people does any one want to jump in here this guy is saying cables are useless.!! any one

 

heres the best line "People shot like this for decades before the industry came up with specialized accessories which are for some reason "must have" or you can't shoot anything." - Tyler

 

they also had kids working 15 hour days , no pay , they treated animals like poop, at one point they only had "whites" making movies or doing things on set. should we bring all that back to or do you think we should grow and figure out how to do things better. 

 

fourth:

they are not huge issues only to you and most your "huge issues" your clearly wrong about if you read my post. so if your wrong about all that I'm sure your wrong about your fourth statement . possibly you need glasses.. a face accessory .

 

do you not think Deakins uses a follow focus or cables? he uses wheels a lot on a JIB to work his camera .. i wonder how he'd see the image with out cables, or an "accessory" like a monitor.  

 

jeez i wonder how the director will be able to judge performances with out looking at the close ups on the monitor , see the director need to see the monitor using a cable so that the movie turns out good .  Id love to see these "movies" you shot with no AC and no director input I'm sure they were great.

 

 

any ways as every ones saying lets get back to the topic at hand I just proved you don't know why your tling about .. i mean I should have just stopped at red cameras can use STANDARD V MOUNTS but i had to go further.

 

I can guarantee what ever you write next as with all your posts will be wrong.


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#70 bill h. hendrickson

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Posted 14 October 2015 - 11:38 PM

refers to post # 68

 

are you sure your an editor because red files can be edited natively in 98 percent of editing systems most notably every single system you listed 

so your wrong about that .. you should stop telling people that . have fun importing tiff sequences in to final cut


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#71 Satsuki Murashige

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Posted 15 October 2015 - 12:10 AM

Maybe? I mean if you have the time and are there, you could just shoot the test. :shrug:


No, I mean that there is no longer an F65 at the rental house. It was the only locally owned F65 that I knew of. I used it last year for a webseries but it was stolen a few months ago, and for awhile they had a sub-rented body in the shop so I was planning to use that one. But I just found out they have since sent it back. I've asked them to let me know if they get another one in soon.
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#72 Robin R Probyn

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Posted 15 October 2015 - 01:07 AM

Passion in good.. but passion without knowledge is not.. 

 

Bill.. wasting your time.. Ive been through all this before with Tyler re Sony camera,s and XAVC/XDCAM.. Ive advised literature for him to get a grasp of at least the tech side of digital camera.s..  but it aint going to happen.. 


Edited by Robin R Probyn, 15 October 2015 - 01:09 AM.

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#73 Tyler Purcell

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Posted 15 October 2015 - 02:50 AM

No, I mean that there is no longer an F65 at the rental house.


My comment was in regards to doing the test with the F55. Might as well test what you have access to.
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#74 Satsuki Murashige

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Posted 15 October 2015 - 03:08 AM

My comment was in regards to doing the test with the F55. Might as well test what you have access to.


Gotcha. Sure, I can do that.
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#75 Tyler Purcell

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Posted 15 October 2015 - 04:08 AM

all your statements are wrong buddy.


I don't understand why you're here. There is no cinematographer with your name (or anything close to it) on google or IMDB. So based on your childish anger, I can only assume you're a RED devotee who is looking for redemption in all the wrong places.

I absolutely love this line:

jeez i wonder how the director will be able to judge performances with out looking at the close ups on the monitor , see the director need to see the monitor using a cable so that the movie turns out good .  Id love to see these "movies" you shot with no AC and no director input I'm sure they were great.


Do you think David Lean carried around his B&W CRT monitor making 'Lawrence of Arabia'? nope
Do you think Stanley Kubrick was watching a monitor making 'Spartacus' or "Dr.Strangelove" nope
Do you think Orson Wells was watching a video replay during the making of 'Citizen Kane'? nope
Do you think Michael Curtiz was right off screen looking at his monitor making 'Casablanca'? nope
How about Hitchcock with "vertigo"? nope... How about Victor Fleming with 'Oz' and 'Gone With the Wind'? nope

See, you don't need a video monitor to make a good movie. In fact, the birth of the DIT and video village, marks the downward spiral of cinema. Sure, I understand using the resources that exist in order to insure you "got the shot". However, some of the best films ever made, never had a monitor or replay device on set. Yet, somehow those pre-historic filmmakers figured out how to bash rocks together in order to make a movie look good.

As a director, you wouldn't catch me even near a monitor when shooting. I'm focused on my actors, generally standing or sitting right out of frame, staring at their performance. It's the cinematographers job to capture that performance and if they say it's OK, I trust them and we can move onto the next shot. This is how movies have been made for decades and there is zero reason they can't be made the same way today.
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#76 Freya Black

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Posted 15 October 2015 - 07:04 AM

don't be sorry Robin. Tyler has lost his mind. For one he started off saying he's hasn't shot much with the red and does post. and its obvious .  .

 

I mean people are bing nice and don't want to speak up but with every passing post he writes he really does make a fool of himself.  I really think that if your going to have an good discussion lets limit his posts or not take them to seriously since you have not  shot with the red  much but you really speak a lot about it . really docent seem like you’ve shot with any thing new.

 

sorry for the grammar I wrote this fast and on a phone .

 

 

Okay, I really don't like it when people start making nasty personal comments about other forum members as we can see happening above. Please keep the discussion to the cinematography and technology etc and be nice to the other forum members even if you disagree. Generally we totally allow people to make fools of themselves on cine.com if they wish, or at least we always have done in the past. It can be a bit uncomfortable if someone is quite young and full of ego and saying really nutty things because it's a real names forum and stuff sticks around but there isn't really an easy answer to that it's a modern world thing.

 

A good thing about forums is there are often a lot of people with different opinions and stuff. This is good. People can discuss things and then you can work out what your own opinion is. Someone might even say something that is completely wrong and it can be a good thing because then someone else has the opportunity to point out the correct answer and then people can learn from that. A discussion can even take place from that where people learn more details as people try and explain and people argue or whatever. All of this stuff can actually be good even if it doesn't seem like it should be.

 

I don't think we want to limit anyones posts unless they are being abusive to other users in some way or in some other way being really offensive.

 

Sometimes people don't take peoples posts seriously and they make jokes and that's okay and can even make people laugh which is good. Sometimes they do take peoples posts seriously even if they are wrong and it can be an opportunity for people to learn more from the resulting discussion. This is all good.

 

 

I don't understand why you're here. There is no cinematographer with your name (or anything close to it) on google or IMDB. So based on your childish anger, I can only assume you're a RED devotee who is looking for redemption in all the wrong places.
 

 

Saying people are childish and questioning peoples status is also making things personal in a way that is not good.

I like to think people are welcome here for the most part and don't think it's nice to question why they are here unless they appear to have come here just to be abusive or something.

 

Seriously I think it's okay to have personal preferences for cameras or whatever.

I don't want to go too far down discussing this too much as I nearly got thrown off the forum last time I tried but I think different camera systems have different looks and people might choose them for this reason regardless of which one is technically "better". It's like what David was saying about Agfa. For instance I really like the images from my fisher price PXL 2000 and they are not what people would normally call "good". They are very different however.

 

Freya


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#77 Freya Black

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Posted 15 October 2015 - 07:25 AM

 

third

red has no mandatory accessories . the only one would be media .  you can run the rest of the camera with cheap third party accessories like monitors batteries a phone to change all the setting.  Again your making arguments and making your mind up with out knowing a lot and your confusing new comers like your self about digital cinematography.  Ill say it again there are no mandatory red accessories.. only media .. you can have the camera woking with thousands of third party accessories.  

 

come to think about it you can use a recorder with red.. so actually you could just buy the brain and thats it from red and everything else to run the camera you could buy separately. you don't know this of  but you still make comments about it why? take a step back and realize you don't know a thing about the camera .

 

Depends on the Red Camera. It *IS* true that a lot of Red accessories have their own standards. I have a Red One MX. It's difficult to find third party monitors for the camera that will display the menus, although there are a few if you can track them down. If you use the Red Monitors then you need expensive custom Lemo cables. It's true that you can use V-Lock batteries but you will need a custom V-lock battery interface to the camera, once again with expensive Lemo wiring. Same with AC Power. Media is to Red standards and you require a custom interface to use it too. You also need the media readers on the computer end if working with Red SSD's. I have found that it's kind of essential to have a top handle for the Red One. To do so you also need the camera top mountings first. It's true that there are a couple of third parties making things to the Red One standards although in the past Red have discouraged this to the extent that you aren't even allowed to write the word "Wooden Camera" on their forum.

 

I actually had a cheap third party top handle that fits the more usual standards for hole spacing and was trying to modify this by widening one of the holes a few mm to make it fit the Red standard camera top mountings. Thankfully I met a guy who used to work for spitting image who helped by milling out both holes in such a way that it made a really secure top handle but it turned out to be quite difficult to adapt the more every day stuff to the Red Standard. I think the Epic bodies are a bit better in this regard but you will still need to have things like media side modules in order to use camera properly.

 

I think the new Raven camera is going to change all of this and is going to be a lot easier to work with standard third party stuff than has been the case in the past but we will have to wait until it has properly hatched out of it's egg to be sure. :)

 

Freya


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#78 bill h. hendrickson

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Posted 15 October 2015 - 12:32 PM

for post #75 

do I need to be on IMDB to point out your wrong I just proved it I'm glad thats all you could come back with just go to show more that you were wrong. Just admit it and move on.

 

you have to realize to thats your opinion there are more good movies made with monitors then no monitors. and if they had that back then they would be using them.

you can always se and actor with camera dolly crew sound in front of them . you need a monitor.

 

for Post #76

Freya Black

Its true not to make attacks .. but 98 percent of what tyler is saying its not opinion so he's gibing a lot of miss information and its how rumors and things get started.

 

Past #77

that is true for the RED one but not for epic and scarlet weapon and raven.. you don't need menus on the monitor to operate it but almost any ddi or hdmi monitor you can see them anyways.

 

I was simply pointing out that Tyler was attacking a single camera manufacture. when info at all are the same way. even Arri you have to chose which batt. mount you want before hand and they wire it for you.


Edited by bill h. hendrickson, 15 October 2015 - 12:37 PM.

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#79 aapo lettinen

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Posted 15 October 2015 - 01:18 PM

if one is working on commercials, music videos and/or corporate stuff one does not necessarily have a single imdb credit even is one has been in the business for example 20 or 30 years. 

 

camera's usability & practical construction+form factor+easy setups = money 

light sensitivity=money 

reliability=money 

workflow compatibility and easy workflow = money  

easy backups = money 

easy monitoring = money 

 

camera's look =creative choice 

camera's frame rates etc. special features = creative choice (--->maybe money if wisely used) 

 

The only stupid statement here is that one could replace all the existing camera systems with a single system which fits all the possible shooting situations perfectly. 

That is simply not possible and I don't see any reason why it even should be.

 

The only situation when this would be nice is if you are a owner operator and would like to shoot all your stuff with a single camera body because you only afford that single one  <_<    

It is however not a reason to bash all the other systems just because they are not the one YOU own. One does not have to always justify their camera purchase to the rest of the world, I'm sure a professional can choose a camera system which suits best his/her needs and projects without needing to reason every day WHY they did their purchase and WHY everybody else are stupid because they chose some other system  :ph34r:

 

I am shooting material for my own crappy documentary with a Konvas 1KCP with kmz lenses, on Fuji Vivid, completely handheld, run-and-gun style, using single cheap-o 20€ led light for lighting if needed. (I am able to fit all the stuff in my small backpack including changing bag, backup battery, extra lens or two and two extra rolls of film, walking 10-15km to the locations if needed.) I think that is about as unconventional as it can be  :blink:     i could easily choose to shoot the same material with the FS7 (and also have shot some of it) but I think the Konvas is the best choice for the specific material I shoot at the moment and I really like to be able to switch styles by changing film stock and also to be able to get the same look with my Cameflex if needed  :lol:    

If practicality demands it, I have also shot stuff for the same project with Bolex RX, Krasnogorsk2, Konvas 1M, Panasonic GH3 and GH4, 5Dmark2 raw, etc.

 

Why the heck one would need to drag an Alexa or Epic with him with tons of batteries and big rental costs if some other camera suits the specific project much better and one can thus for example get shots which would otherwise be lost because of the unfitting gear which is clumsy choice in those specific situations? 

 

It's like owning a multitool, you can use it for almost any task but it does not fit almost any of them perfectly and for most uses it is really bad choice compared to, say, a proper screwdriver  ;)


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#80 aapo lettinen

aapo lettinen
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Posted 15 October 2015 - 01:24 PM

if compared to the lighting, it's like saying we are only allowed to use steel Combo 3's and 40" c-stands for all our lighting needs. And then some fanboy shouts that the 4k Arrimax is the only real movie light, everything else is total crap and all the people who are using any other light are stupid and unprofessional  :P


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