Thread: Best Lens for 96-120FPS Monochrome Footage/Still capture-Wild Gorilla subject

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  1. #11  
    Senior Member Zeb B's Avatar
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    BTW Grayson, John Merchant is probably the most knowledgeable source on the planet on all things RED Mono. If money is no object, I would see if John would work on a consulting basis to personally get you up to speed in a private workshop style capacity. Since you have no prior RED camera experience it is way more important to get hands on time, via a knowledgeable mentor, rather than worry about lens choice and other gear
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  2. #12  
    Senior Member Marcus Friedlander's Avatar
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    Quote Originally Posted by Zeb B View Post
    BTW Grayson, John Merchant is probably the most knowledgeable source on the planet on all things RED Mono. If money is no object, I would see if John would work on a consulting basis to personally get you up to speed in a private workshop style capacity. Since you have no prior RED camera experience it is way more important to get hands on time, via a knowledgeable mentor, rather than worry about lens choice and other gear
    +1 to that! Probably the best advice I've seen in the two threads about this hahaha
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  3. #13  
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    Helium Monochrome owner here.

    Zeb, the use of monochrome is hard to justify, but for me it's purely emotional. I have made none to very little ROI with the monochrome, yet I still can't part with it... I need to shoot my projects with it. It's the largest emotional investment I have ever made.

    John, I have to agree with the Nikon suggestion. I would take it to another level and recommend the use of vintage Nikkor-O glass. The combination of these lenses with the monochrome is to die for...

    Grayson, I am happy to give you advice and answer any questions if you need guidance. And DO seek advice from John.. he definitely knows what he's talking about..! I definitely second the use of B/W colour contrast filters as they are the only way to control colour contrast. As for your search for a dreamy look, I would recommend the exploration of anamorphic or the use of diffusion filtration..!
    Last edited by Simran Dewan; 02-26-2018 at 08:27 PM.
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  4. #14  
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    Quote Originally Posted by Grayson Fahrner View Post
    Windowing the sensor gets me closer without needing to haul heavy lenses through hours of jungle.
    In theory. Windowing the sensor simply reduces the amount of information you're capturing but does nothing to augment your focal length or the physics of your optics. Better off shooting full frame and punching in in post.
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  5. #15  
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    Quote Originally Posted by Simran Dewan View Post
    Helium Monochrome owner here.

    Zeb, the use of monochrome is hard to justify, but for me it's purely emotional. I have made none to very little ROI with the monochrome, yet I still can't part with it... I need to shoot my projects with it. It's the largest emotional investment I have ever made.

    John, I have to agree with the Nikon suggestion. I would take it to another level and recommend the use of vintage Nikkor-O glass. The combination of these lenses with the monochrome is to die for...

    Grayson, I am happy to give you advice and answer any questions if you need guidance. And DO seek advice from John.. he definitely knows what he's talking about..! I definitely second the use of B/W colour contrast filters as they are the only way to control colour contrast. As for your search for a dreamy look, I would recommend the exploration of anamorphic or the use of diffusion filtration..!
    Perhaps I forgot to mention in my original post that I was leaving February 16th and returned a couple weeks ago. I did take a weapon Mono and color into the jungles of Congo and returned, with equipment and footage intact...and like many of you indicated/predicted correctly, my technical abilities were challenged at a far earlier point than the capabilities of the camera but having had zero experience operating Red cameras I thought I did decently in the jungle on my first attempt. I encourage anyone with a Red to take it to Congo and film these incredible animals, despite the environmental difficulties.

    I brought nikon glass, but predominantly used the Fujinon 19-90 and 85-300 and I was surprised that I typically was not challenged at focal length; framing and maneuverability were much more important considerations as gorillas were constantly shifting behind vegetation. I found a C-1 Cinemacanix shoulder rig alternating with a monopod the best setup. Tripods were horrendously difficult to move around the vines and tight quarters.

    I'll probably be uploading some of the footage to vimeo, right now the early downrezzed stuff is on my instagram @GraysonFauna . I'm learning the post-processing ropes as well, editing the footage on a custom PC connected to a TB3 32TB G-Speed.

    John Merchant and everyone else who weighed in I appreciate your feedback and offer for education in the future...money is definitely an object as this is a hobby of mine but the best way to learn is from the best. If anyone has questions about filming gorillas in the wild I'm happy to offer advice as I've probably been on more gorilla treks now than any other American in a "tourist" capacity over the past two years. Thanks!
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  6. #16  
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    Pre-record is something that comes in super handy when working with unpredictable subjects. Hoping you employed it, as being several weeks too late won't help much on the big day. There is the future, though!
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