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  1. #891  
    Senior Member Christoffer Glans's Avatar
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    Quote Originally Posted by Savannah Miller View Post
    Does this mean slower rolling shutter? I feel Z-Cam and Blackmagic are on par with a lot of RED cams these days. Rolling shutter was one of the main complaints of the BMCC and Blackmagic doesn't seem to have these problems anymore.

    Ursa Mini Pro G2 has alexa-like rolling shutter performance.
    My bad, yes, I meant a slower rolling shutter, i.e slower readout. The Ursa Mini Pro G2 is, in my opinion, a very impressive camera from BM. Should be praised more than people seem to give it. Pocket 6K, however, is not really close to the performance of the G2, since the readout of the Pocket is way slower. It's also the reason why it can't go above 50 FPS in 6K mode. Now, if Ursa Mini Pro G3 becomes a 6K 35+ or 8K FF, that would be some serious competition.
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  2. #892  
    Senior Member Bastien Tribalat's Avatar
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    Quote Originally Posted by jamesbridges View Post
    Makes total sense, I generally format my cards ahead of time(I use SXS Pro+ btw), my other cam op using a FS7 I’ll have to check in that one. With those write speeds, CFEXPRESS seems to be the future.
    I’ll wait for Jarred to mention financials, sensor discounts, etc. for me, it’s total speculation, but your comment could be true. I wonder how much the Canon Mount costs?
    Yes it is. ;)
    (only thing I'm mostly sure is that Sony has some sort of licence control -and monopol?- on XQD format and that it may apply to the in-camera slot as well)

    SxS Pro+ are my favorite cards of all. I have NEVER had any problem with them, it's super reliable, in my experience it's build like a freakin tank. Only downside : it's expansive !

    Quote Originally Posted by Christoffer Glans View Post
    My bad, yes, I meant a slower rolling shutter, i.e slower readout. The Ursa Mini Pro G2 is, in my opinion, a very impressive camera from BM. Should be praised more than people seem to give it. Pocket 6K, however, is not really close to the performance of the G2, since the readout of the Pocket is way slower. It's also the reason why it can't go above 50 FPS in 6K mode. Now, if Ursa Mini Pro G3 becomes a 6K 35+ or 8K FF, that would be some serious competition.
    I agree.
    I think the fact that it doesn't have dual ISO, doesn't go higher than ISO3200 (and it's a bit noisy) and has a base ISO of 800 (I think) turns people off because nowadays and especially in this price range people tend to buy specs lists instead of an actual camera.
    But when you think about it, this camera offers the same ISO settings (more or less) as an Arri Alexa (not LF, I've never used one so I don't know about those settings :p).
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  3. #893  
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    Makes sense Bastien, licensing hardware is a whole new world for me to try and discuss. Imagine if Sony makes licensing could be very expensive, if for sale at all w/o some serious strings attached. I am only speculating that the camera design was some time ago as well.
    True, SXS Pro+ is fantastic, so far it’s been a very reliable recording medium for me...correct, downside-$$$
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  4. #894  
    Senior Member AndreeMarkefors's Avatar
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    Quote Originally Posted by Brian Boyer View Post
    Does that make sense?
    It's a bit of a tangent to what I said. A diode that has a greater well capacity will give us a stronger signal and higher dynamic range, given that the noise floor is constant.

    The captured signal on sensor has no correlation to the distribution of stops around 18% gray. That comes later via OETF interpretation.

    Quote Originally Posted by Christoffer Glans View Post
    I think you misinterpreted the line of thought on the roll-off thing, never said it was specifically only at the sensor level, it's the sum of all parts.
    Well... the sensor can't really tell if there is a filter in front of it, or the sensor. It just gets charged in a linear fashion. I maintain that it has nothing to do with any rolloff.

    I agree that if you can filter out some undesirable characteristics of certain light wavelengths, you will get a cleaner result that will most likely help when you:

    apply your OETF and any other curves and/or image manipulation tools/tricks that lead you to your preferred look. Of course it's possible to compress/extend/roll off highlights. It just doesn't happen on the sensor.
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  5. #895  
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    Quote Originally Posted by Bastien Tribalat View Post
    Speaking of sucker punching, and I know it is going off topic but anyone know if DSMC3 will have a 70mm-ish sized sensor in its roster ?
    Please...just don't. Aperture 8 and above here we come. We'll need a lot more of light to get anything sharp in the picture.
    Also...why does everyone wants dsmc3????
    Dsmc2 is still evolving with dsmc2 teradek module and now the one from vaxis. When they release a system it always takes around 1-2 years till all the important parts are available. You also can buy everything new...for those who really need it...they can release a 70mm sensor in the dsmc2. Form factor. But have fun with gathering enough light.
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  6. #896  
    Senior Member Christoffer Glans's Avatar
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    Quote Originally Posted by AndreeMarkefors View Post
    It just doesn't happen on the sensor.
    Which was never really stated. Sensor tech, as said, is the sum of all parts, not just the sensor itself. Point being, how the sum of its parts behave is the point made with what we prefer, no one is actually shooting and grading with pure RAW data, everything has been set to a specific standard and with the OLPF, some standards are baked into what the RAW data is capable of.
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  7. #897  
    Senior Member Bastien Tribalat's Avatar
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    Quote Originally Posted by Manfred Baulig View Post
    Please...just don't. Aperture 8 and above here we come. We'll need a lot more of light to get anything sharp in the picture.
    Also...why does everyone wants dsmc3????
    Dsmc2 is still evolving with dsmc2 teradek module and now the one from vaxis. When they release a system it always takes around 1-2 years till all the important parts are available. You also can buy everything new...for those who really need it...they can release a 70mm sensor in the dsmc2. Form factor. But have fun with gathering enough light.
    Am I missing something here ? A 70mm sensor being roughly four times the size of 35mm sensor (for the sake of the argument) why would it need more light ?
    You mean we would have to close the aperture a lot more to get depth of field ?
    If so, doesn't seem to have been so much of a problem on Nolan's films or on Rogue One for example (which was entirely shot on Alexa65 and has, at least to me, a GORGEOUS picture). THAT BEING SAID, it's obviously true that it would make focusing a bit more difficult but it was never meant for one man crew. You need a (serious) focus puller :p
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  8. #898  
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    Quote Originally Posted by Bastien Tribalat View Post
    Am I missing something here ? A 70mm sensor being roughly four times the size of 35mm sensor (for the sake of the argument) why would it need more light ?
    You mean we would have to close the aperture a lot more to get depth of field ?
    If so, doesn't seem to have been so much of a problem on Nolan's films or on Rogue One for example (which was entirely shot on Alexa65 and has, at least to me, a GORGEOUS picture). THAT BEING SAID, it's obviously true that it would make focusing a bit more difficult but it was never meant for one man crew. You need a (serious) focus puller :p
    I come from photography and at aperture 8 nothing was sharp. I had to experience analog Hasselblad and the digital beginning. On some stuff for commercials we had to shoot at aperture 64.

    All I'm saying is, it makes everything more expensive. Try Monstro on 85mm at 1.4. for product shootings we always choose the helium over monstro.
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  9. #899  
    Senior Member Christoffer Glans's Avatar
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    Quote Originally Posted by Manfred Baulig View Post
    I come from photography and at aperture 8 nothing was sharp. I had to experience analog Hasselblad and the digital beginning. On some stuff for commercials we had to shoot at aperture 64.

    All I'm saying is, it makes everything more expensive. Try Monstro on 85mm at 1.4. for product shootings we always choose the helium over monstro.
    70mm is not a problem for productions using the Alexa 65. Of course it's more expensive to shoot with such a camera, but so is using the Alexa 65. It's not meant to be used for casual stuff or low budget shoots, it's meant to be a camera used for the highest-end productions, while still available for those who want to shoot in medium format. Medium format productions usually use wider images, opening up the image without losing DOF. It looks fantastic, just check out Rogue One, Altered Carbon, The Revenant to name a few.

    The whole point is that DSMC3 should be made up of three sensor sizes to be a rational lineup. 65mm medium format, Full-frame and super35. By having three sensor sizes, you choose the one which works best for your type of work. And Jarred already said that DSMC3 is coming, at earliest by the end of 2020. My point was that DSMC3 need to be a radical push forward in digital cinema, since alternative brands keep catching up with cameras that cost a fraction of a Red. Either, the DSMC3 lineup needs to cost much less in order to compete, or they need to be at the cutting edge of digital cinema technology. Until then, let Komodo disrupt the sub-10K market to get more people to use Red and be within that infrastructure. It makes logical sense.
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  10. #900  
    Senior Member Bastien Tribalat's Avatar
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    Quote Originally Posted by Manfred Baulig View Post
    I come from photography and at aperture 8 nothing was sharp. I had to experience analog Hasselblad and the digital beginning. On some stuff for commercials we had to shoot at aperture 64.

    All I'm saying is, it makes everything more expensive. Try Monstro on 85mm at 1.4. for product shootings we always choose the helium over monstro.
    When I was in cinema school (2008-2011) I shot medium format film (on Mamiya gear) but I can't remember any of the settings. Was awesome tho.
    I shot a bit with the Panavision DXL (which has a Monstro VV sensor) and some Primo 70 whatever primes and it was fine by me. BUT it was NOT product shooting, just random people talking and drinking at Cannes Film Festival at the Panavision presentation of the camera (which for the fun fact was taken from the shoot of Mission Impossible Fallout for that day and had to go back overnight to where the film was being shot at that time).

    My point : bigger sensor=more difficult to focus and stuff BUT on a cinema shoot (I mean with a full crew) it's not that much harder in my opinion and it looks so awesome (but that's a matter of personal taste. I do love using the lack of depth of field to bring... Depth to a shot I feel it's more effective than 3D)
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