1st AD, "Pictures up"

[Ken Corben]

OK,

I have shared several cool firsts, like 3D and underwater, and testing of the RED ONE cameras to date on reduser. Now I simply have to say how much I LOVE THIS CAMERA. I'm on location as the "Red Digital Artist" shooting REDCODE RAW 4K and IT IS A THING OF BEAUTY.

I feel like I'm painting with oil on a canvas when I see the images. Posted pictures are from my iPhone and NO I can not post images or clips of the client's 4K project. Man, this is way to much fun.

Director says time lapse - I say No problem. Director says 72 FPS - I say no problem. DP says 4K 24 FPS at f2.8 I say no problem. All with the same camera.

Did I say how much I love this camera? Unbelievable!

Sharky

[Post]

Sharky,

Thanks for posting...can't wait to get mine.

[Andrew Benz]

Can you... just kidding Ken. Those pics look great. Thanks for the window into the GibCor world. :-)

[dalemccready]

...and it looks dead sexy on the Arrihead!

[Peter McCully]

You're having way too much fun. Perhaps give some of your pay back to balance it out.
When you say "time lapse" how did you manage that exactly?

[Alexander Nikishin]

Ever since shooting with RED for the first time, (after all the bugs were washed out ofcourse) I just thought to myself, now this is what a camera should feel like to shoot on, no tape, no film, just high quality at a low cost with all the conveniences of a million dollar machine.

[Alexander Nikishin]

You're having way too much fun. Perhaps give some of your pay back to balance it out.
When you say "time lapse" how did you manage that exactly?

There's a 1fps feature now.

So it's semi time lapse.

[BASSAM MSSALATIE]

Hi Guy's
as i have said befor when you have RED 35MM film is DEAD

[Ken Corben]

Yes we're working on a Sunday. Here's a look at our solution for no RED EVF or LCD on set today. The crane shot utilized water dripping down from the front of the lens at 1/90 shutter - NICE is an understatement.

Did I say how much I love this camera?

Sharky

[Rick Darge]

Those lights are bigger than my dog

[jbeale]

Hey, you're shooting in my backyard there! (well, more or less). I'm guessing this is a project for Stanford? Usually they don't permit commercial shoots, or even documentaries to take place on campus.

[Ken Corben]

One extreme to the other - shot the Optimo 12X and the Century 6mm on RED in 4K today.

Way cool!

[Jeff Kilgroe]

That setup with the 6mm looks so awkward... There has to be a better way to rig those handles. ??? I'd love to see something in 4K with that lens. :)

[Andrew Benz]

One extreme to the other - shot the Optimo 12X and the Century 6mm on RED in 4K today.

Way cool!

That is two kinds of crazy! I would love to see what you got with those lenses... :gun:

http://www.reduser.net/forum/attachment.php?attachmentid=1561&d=1193111546

Especially this one!:weight_lift: :wink:

[Tom Lowe]

You guys have some fun toys on that shoot!

What is the project? Are you DPing?

[Brook Willard]

That 6mm lens is hilarious. I got to play with one once... it has *greater* than 180 degree FOV.

[jimhare]

That 6mm lens is hilarious. I got to play with one once... it has *greater* than 180 degree FOV.

That's hilarious! Someone has to post a shot, I have to see what that looks like.

Jim

[Keith Alan Morris]

teases.

sigh...

[Justin Kirchhoff]

the 6mm is bigger than the RED itself.

[Ken Corben]

:mellow:
the 6mm is bigger than the RED itself.

And way heavier than the camera with battery. Hand held was a real work out especially keeping myself out of frame.

In today's 4K shoot, the highlights were 6-7 stops over the f2.6 exposure in this set up (see photos). When viewed at 100 percent from 4K DPX files in photoshop today there was still detail in the highlights. The DIT and I were blown away.

Sharky

[Peter McCully]

There's a 1fps feature now.

So it's semi time lapse.

1fps is good, I like that. I also would like to see a single frame feature. Is there a way to trip single frames currently? This brings up the whole time-lapse thing I know but I havent heard anything official on what is planned in this regard.

[Damien Molineaux]

Wow, great stuff. The 6mm in unbelievable, crazy. I would also love to see a sample shot with it.

What's that machinery with a mess of tubing and stuff. Is it just a prop or is it for real ?

Cheers,
Damien

[jbeale]

What's that machinery with a mess of tubing and stuff. Is it just a prop or is it for real ?

I have no idea about this particular shoot, but I know there are UHV (ultra-high vacuum) experimental setups that look much like that. These are used in engineering, chemistry and physics labs in cases where surfaces must be kept clean on an atomic level. These shoots appear to be around the Stanford campus, and I'm sure they have labs like that for real. When I was a grad student there, our group had a similar chamber for ion beam experiments; just not quite as many tubes & wires.

[Alexander Nikishin]

1fps is good, I like that. I also would like to see a single frame feature. Is there a way to trip single frames currently? This brings up the whole time-lapse thing I know but I havent heard anything official on what is planned in this regard.

If I remember correctly, the super grip will allow for single frame grabs, just as you would with a dslr and external trigger.

The feature is definitely in the works along with one second exposure times.

[Ken Corben]

What's that machinery with a mess of tubing and stuff. Is it just a prop or is it for real ?

It is real and is called an "X-ray spectrometer." It is used to investigate the molecular world of DNA. Very cool stuff.

Late in the day I was able to shoot some B roll with the 12X. I shot 4K 3 fps of an oil tanker entering SF Bay from sea with the latest camera software - with out a glitch. I used a pola (ND 6 rating) and a ND 3 for 3 stops total putting the fstop at a f5.6 split at a camera setting of 100 ASA and 1/48th on the shutter. I was testing the sweet spot for this lens. The clip is fracking amazing.

I was amazed by the number of people that walked up and asked, "Is that the RED camera?" It was very cool to hear "Joe Public" explaining to me who Jim Jannard is and what the RED ONE camera does.

Like the guy shooting the camera had no clue. The best part was the German family of 8 whose father said, "You look like the right guy to take our family picture" as he handed me his disposable digital camera.

What a day. I am slated to shoot another RED ONE first Friday and will post the results for y'all.

Sharky

[Andrew Benz]

Sharky... what an awesome post and picture. That look on your face says it all. Thank You.

I find that Germans are very practical. ;-)

Andrew

[Corrado Silveri]

Hey Shark,
I "need" to see some sample pict from that monsters (wide+tele).

They are just freakin' unbelievable...

[Mark Thorpe]

Looks like I need to get out West. You guys are having waaaaaaaaaayyyyy too much fun.

Great to hear things are well Ken. That 6mm looks ridiculous, but sweet in the same sense. Currently in Milan then off to Antibes later today for the Festival. One short film entered which is showing on the big screen, main auditorium, on Friday afternoon.

Breaking a leg,
Mark.

[Michael Hastings]

One extreme to the other - shot the Optimo 12X and the Century 6mm on RED in 4K today.

Way cool!

Is that 6mm full S35 or for windowed 2K?

I have a C-mount 3.5mm for 16 and thought it would be pretty easy to make a c-mount for red if I wanted to try windowed 2K.


Q: What's that machinery with a mess of tubing and stuff. Is it just a prop or is it for real ?

A: It is real and is called an "X-ray spectrometer." It is used to investigate the molecular world of DNA. Very cool stuff.

Sharky

That looks like my shop...as you know.

[Ivan Egorov]

oh man.
will we ever get to see the footage shot using that monsta 6mm?

[Andrew M.]

This is just a Fish eye adapter, isn't it?
and what lenses are you using underneath?

http://www.schneideroptics.com/

[chuck colburn]

This is just a Fish eye adapter, isn't it?
and what lenses are you using underneath?

http://www.schneideroptics.com/

Not an adapter. Like the Hologon (sp.) I believe it was designed for cloud research. I think it saw 220 degrees of angular coverage. I think. lol

[Andrew M.]

This is the 6mm Century prime
http://www.pillefilm.de/en/products/product.php?show=1|18:385

So the other one must be on the lens adapter?
Sharky, what is do you have there??

[Andrew M.]

http://www.pillefilm.de/en/products/product.php?show=1|25:498

Yes, I see there is one 6mm PL mount from Century fish eye like this one
Not listed though on the Century website?

[Ken Corben]

The last two days on set were all aerials. We utilized a RC helicopter and a Tyler mount on a Jet ranger. We shot 4K, 24fps, 180deg, 100 ISO.

WOW, the footage is amazing!

[T. Glen Phelps]

Sharkguy, The footage must be awesome!!

I'm very interested in the RC heli setup, can I get more information on it?

[Michael Schrengohst]

Tell us more about the lens set-up
in the tyler nose mount pic.
What controller where you using
in the cockpit?

[Sanjin Jukic]

http://www.pillefilm.de/en/products/product.php?show=1|25:498

Yes, I see there is one 6mm PL mount from Century fish eye like this one
Not listed though on the Century website?

"CARL ZEISS "Wide Angle Front Lens Mutar T*" 0.6x "Aspheron"
for Vario-Sonnar zoom 10-100 T2, 11-110 T2.2,
and Distagon prime 9.5mm T1.3.

The Carl Zeiss Mutar f=6mm is a wide angle supplementary lens, commonly know in the industry as an "Aspheron"
because these lenses use expensive aspherical surfaces to cancel distortion. The Mutar was made in the Carl Zeiss
factory in Oberkochen Germany, along with the Super Speed primes and the Vario-Sonnar zooms".

http://cinematechnic.com/images/zeiss/Mutar_side_w-logos.jpg

http://cinematechnic.com/images/zeiss/Mutar_Front_no-cap.jpg

http://www.sanjinjukic.com/extras/arriflex-10-100.jpg

http://www.sanjinjukic.com/extras/zeiss-10-100-s16.jpg

MORE>> (http://www.cinematechnic.com/products/zeiss/Mutar_f=6mm_Zeiss.html)

[NormLi]

Let's see some footage Ken! Killing us here :)

[Ken Corben]

Let's see some footage Ken! Killing us here :)

Sorry I'm on the clients' clock - work for hire - so I can not post footage I do not own. I am sharing the production work flow so you all can see this frickin' amazing camera in action. I can say that the 4K footage is SPECTACULAR and the client is very stoked.

Attached a photo of the RED in hand held mode. Still in research mode on this. I think that the studio matte box will be a favorite in cine mode with a battery belt - Panavision style of sorts. Still playing with the EFP modes but the possibilities are limitless given the modular design so it will be fun to see other red owners' solutions as well.

[Darren Orange]

That RC chopper seems very interesting. Is that a personal creation?

[Ken Corben]

Tell us more about the lens set-up
in the tyler nose mount pic.
What controller where you using
in the cockpit?

Optimo 15-40 zoom lens with motors on iris and zoom - focus is preset.
FIZ hardwired to camera (motors) for control.

[Ken Corben]

That RC chopper seems very interesting. Is that a personal creation?

The RC Helo used on this shoot came from a third party. 3 axis gimbal stabilization is critical for obtaining useable footage for the big screen. It is also my opinion that the RED ONE camera needs to be enclosed in a ball.

I am adding this tool to my RED production arsenal and am leaning towards this (black ship with ball below) turbine powered model with lighter DSLR primes (Canon) and GPS flight control systems as compared to the current RC helo options pictured below.

I figure February is when the RED 4K camera ship will be online, field tested and ready for location work. The coolest thing about the GPS flight control system is onboard auto landing at a pre-designated spot if communication is lost with the camera ship during flight.

Love this camera,

Sharky

[Andrew M.]

"CARL ZEISS "Wide Angle Front Lens Mutar T*" 0.6x "Aspheron"
for Vario-Sonnar zoom 10-100 T2, 11-110 T2.2,
and Distagon prime 9.5mm T1.3.



Thanks! Sanjin

[Ken Corben]

Love this shot of the Arri 8R ultra prime on the RED ONE camera in the Aquavideo prototype housing. This lens is amazing underwater in 4K.

Mike's multiple port solution fit and worked perfectly.

[Joseph Mastantuono]

Hello there, fellow working red tech!

We shot a few things with an 8mm lens yesterday, and it was super fun, that music video look in 4k is very engaging.

The thing that is the most interesting, is that conversations on set are no longer about video, codecs, color, and clipping, but about lenses, shots, and composition.

[Ken Corben]

Hello there, fellow working red tech!

We shot a few things with an 8mm lens yesterday, and it was super fun, that music video look in 4k is very engaging.

The thing that is the most interesting, is that conversations on set are no longer about video, codecs, color, and clipping, but about lenses, shots, and composition.

Very cool isn't it?

Listen, my call sheet says RED Digital Artist instead of RED Technician/operator per my request. That is in effect what we are when you look at the results we are getting from the cameras. Sure, Jim and the gang get all of the credit for designing and building this camera and I am the first to say that when asked but the tool in our hands enables art. For instance this set in 4K is incredible (shot with my iPhone).

Yesterday while shooting a dance performance on a green screen sound stage the DP said, "Can I have a 45 deg shutter and 500 ASA and do we need to shoot a test clip?" Less than a minute later and feeling the magic of RED, even in beta release, I said camera's up and no test clip needed. The producers, director and DP looked at the resultant images and were floored (mucho thanks to our DIT Rob Howie that I now call Mr. Wizard).

I love this camera.

[Ken Corben]

Gotta' say RED 4K rocks underwater - this is a Hydroflex Hydrohead with a RED camera sporting the Arri 8R.

This is way too fun...

[jbeale]

underwater motion control? this is crazy stuff, I'm seeing red used on equipment I didn't even know existed.

[Rudi Herbert]

Jesus H Christ, that rig rocks!

How deep can the Hydrohead move in the water sharky? I assume not more than 5-6 ft? Does it move any slower than a regular rig on land? I can imagine building miniatures in a diving tank just like that one and doing some motion control passes...is that doable? How much to rent one of those heads per day?

[Michael Schrengohst]

Wow, when and where can we see this fantastic RED film
you have been shooting??

[Ken Corben]

Jesus H Christ, that rig rocks!

How deep can the Hydrohead move in the water sharky? I assume not more than 5-6 ft? Does it move any slower than a regular rig on land? I can imagine building miniatures in a diving tank just like that one and doing some motion control passes...is that doable? How much to rent one of those heads per day?

I am not the producer on this gig so I do not know the day rate for the hydro head but I like the way you think. 4K underwater miniatures - very cool. Contact hydroflex with the tech questions and they will set you up.

I am building a MILO rig for an enormous MOCO shot with the RED today to be shot night EXT. This one will be interesting. It will be a Dracula shoot (all nighter). I asked the producers if we get a bump due to setting the clocks back an hour tonight - I think his look was a definite NO. Gotta' ask though.

I have viewed a rough cut in 720P and am truly blown away by the results. More details to follow. I will make a final post on this thread with pics of the MILO set up perhaps later on Sunday.

Pushing the envelope with RED Digital Cinema is way more fun than I had possibly imagined. Damn this camera makes me look good.

Sharky

[Ken Corben]

Well, 9 hours to build, light and rehearse and finally picture is up...and what a beautiful shot it is. Recording 4K (2:1), 24fps, 180 deg at 320 ASA with the Arri Utlra 8R WFO on a MILO moco rig EXT - NIGHT.

This is the final set up for this project and hopefully the martini shot will come before sunrise. It has been a remarkable challenge for both me and the RED ONE cameras the past 21 days and a TOTAL BLAST. I don't think there are too many camera techniques or tools that we did not use on this shoot? Kudos to the producers for their enthusiasm and choice to shoot with RED.

Our total 400' mag count (8GB CF card count) is 337 from a rotation of 20 cards, A rough equivalent for 35 mm footage is 135,000 feet. We experienced zero corrupted files in the chosen and enabled 4K 2:1 format. That's right you read that correctly...ZERO!

A rough cut of "one-light" dailies has the producers jumping up and down - even created a little buzz at RED HQ :-)

I am looking forward to seeing what's next for this camera and work flow. At this point (build 8) I'd take on anything a producer/DP throws at me and RED is just starting to release the good stuff.

Would I worry about a 6 camera shoot on a feature?
No.

Could I make the bond stooges laugh?
Probably not.

Do I care?
No.

Does the RED ONE camera make me look like a rock star?
Absolutely.

Thanks RED team - the camera, workflow and RED Team support redefine the movie making process in my humble opinion.

Sharky
RED Digital Artist

[Álex Montoya]

Very nice though more actual footage would be welcome.

[Steve Gibby]

Both of the RED One cameras used on this production were supplied by GibCor, the company formed by myself and Ken Corben earlier this year. Sharky served as 1st AD for the production. At some point I'm sure Sharky will/can answer the questions about when/where the results can be publicly viewed.

Those of you who thought Ken was "just an underwater guy" need to re-think that. He is a very talented, experienced, and resourceful producer, director, DP, and cinematographer - above and below water. I couldn't be happier with having him as my production partner.

As mentioned, GibCor supplied the cameras and Ken supplied himself for the production profiled in this thread. GibCor now heads into a full plate of co-production of television programs and features - we'd give you more info on them, but we're under NDA.

Real fun stuff comin' up!! :biggrin:

[Tony Lorentzen]

Damn those NDAs ;-) Have fun guys!

[Mike Prevette]

I assume the Milo was running in real time? Did you have a remote start/stop? Fiz?

_mike

[Ken Corben]

I assume the Milo was running in real time? Did you have a remote start/stop? Fiz?

_mike

The MILO was programmed for a move with track, boom etc the camera was running 24fps. We did controll the camera via FIZ including run/stop.

[Ken Corben]

Those of you who thought Ken was "just an underwater guy" need to re-think that. He is a very talented, experienced, and resourceful producer, director, DP, and cinematographer - above and below water. I couldn't be happier with having him as my production partner.

I paid Gibby to say that:bleh:

I have to echo the sentiment. I have never had a business partner that is more talented in every aspect as a director, shooter, producer and a better writer than I. It is very refreshing to be in a writing room with Gibby - I call it "Gibby Dust" when he polishes a draft. Watch for some extremely cool films coming from GibCor in the near future (I say films cuz it really gets Gibby's goat in our RED digital world).

The project I recently shot is slated for release in Jan in a very cool format. The projection will use multiple 4K projectors to display the project on an 11 x 55 foot screen in a stitchless format. Basically a slice of the 4K image.

Also, look for a cool audio interview later this month from Millimeter Magazine featuring Steve Tammi, Gibby and I talking about the use of RED in the field.

Sharky

[abalex]

Hi Guy's
as i have said befor when you have RED 35MM film is DEAD

35mm Dead? come on dude...

[Alfeo]

The MILO was programmed for a move with track, boom etc the camera was running 24fps. We did controll the camera via FIZ including run/stop.

Which FIZ unit and did the FIZ control the run/stop or the MILO?

I would love to speak with your MILO operators or at least put my guy intouch with your guy...

-Alfeo Dixon