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  1. #481  
    Quote Originally Posted by 70weeksdj View Post
    I saw the disclaimer for the Oct. 29th owner deadline and wondered if Reds purchased after would also have option for trade/upgrade... thanks again!
    you will also have the opportunity to purchase a Scarlet with similar functionality, better in some cases, for substantially less money. you might have to wait awhile, though, but if you have waited it out this long without a commitment, that shouldn't be a problem...

    i am guessing that strong secondary market for RED ONE will also develop once the EPIC starts shipping...that will be another good option for those still contemplating.
     

  2. #482 VC 
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    So Jarred,

    Do we get to hear about the VC lens feature?

    ...and thanks for breathing so much new life into our world!
     

  3. #483  
    Well apparently the entire year of 2009 has gone by, and still there won't be a 2/3" Scarlet.

    What about some test footage? Wasn't that supposed to be part of this "announcement?"
     

  4. #484  
    Digital FX Greg M's Avatar
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    Quote Originally Posted by Stuart English View Post
    Due to the smaller brain size and lower power draw, the D.C power input connector is a smaller 1B shell size. It's also male gender as is common on most other professional cameras.

    So existing D.C power units will need an adaptor cable.
    excellent, is it wired the same so that existing cables/power sources would work?

    digitalfx.tv

    The RGBlog- Ramblings about Cameras, VFX, etc.
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    Epic-M #98 and #240
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  5. #485  
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    Quote Originally Posted by Laco Zamba View Post
    What happend with this sentence?

    "The 15 bit output delivers dynamic range you have always wished for"

    I cannot find it and I'm sure that this sentence was in announce thread.
    Post #10
    Read the text above the picture
     

  6. #486  
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    A final comment regarding the Red lenses and PL mount option. They look like excellent lenses - already geared for focus pulling, no breathing etc. But for nature videographers we tend to use only the extremes - ultrawide, ultralong or ultra close up. The middle focal lengths don't get used so much. With the Scarlet 2/3", the only way to get ultrawide would be with (for example) a Zeiss B4 mount DigiPrime 3.9mm, which costs such a huge amount of money it negates the entire value proposition of the Scarlet. The reason DSLR lenses are so important for Scarlet is that they offer the extremes. A Scarlet S35 can go ultrawide with a Sigma 12-24mm, which gives a FoV of over 100 degrees. And it can go ultralong with a Canon 800mm, or even (in my case) with a 1200mm apochromatic telescope which costs a third of what the Canon 800mm does yet delivers higher resolution. Scarlet can go ultraclose with any off-the-shelf DSLR macro lens.

    The Red lenses are probably a good choice for cinematographers doing movies about people - you need middle focal lengths for that. But for nature videographers, the Canon or Nikon mounts are critically important because this makes possible a wide range of affordable lenses for the extremes. Hence, the bit in the announcement about full electronic mounts for these lenses was critically important, and appreciated.
     

  7. #487  
    Quote Originally Posted by Jarred Land View Post
    There is something in those renders of the RED Electronic FF lens that nobody has picked up yet.... something that is actually pretty incredible ( and a first )
    Has this been elaborated on? If not, ... please feel free :)

    And a big THANK YOU to the Red team for pushing the limits. Thank you for an impressive RedCine-X. Take your time and bring us your freakin' Scarlets when they are ready.

    This is being felt not only in redland but in the whole cameraworld. Just a little quote from Canon, ending a sentence about one of their new cameras with "... in what is becoming an increasingly competitive market." ...
    Th:)mmes Ulfeng, Norway.
     

  8. #488  
    Quote Originally Posted by Ralph B. View Post
    Post #10
    Read the text above the picture
    Oh, thank you :-)

    Soooo, Epic-X is 15 bit?

    So Mysterium is 12 bit linear and Mysterium-X is 15 bit linear? Is it true?

    If it is true than it is the best news about Epic-X
    Epic-X #2165
    www.4kstudio.sk
     

  9. #489  
    Red Savant Steve Gibby's Avatar
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    Doug,

    Among other genres, I also do a lot of wildlife, nature, and sports production with my RED One cameras. My lens kits are exclusively Nikon and Canon, for the reasons you listed (mobility, weight, bulk, frequently long and super wide focal lengths, etc).

    I'm convinced that RED is very sensitive to the needs of shooters in these genres. In fact, wildlife, nature, and sports are some Jim Jannard's personal favorite genres to shoot. Subject to change of course, the RED Electronic Lenses listed in the December 3 announcement of last year were: 15-25mm f2.8, 25-100mm f2.8 AF, 70-200mm f2.8 AF, and 300mm f2.8 AF.

    Using the RE lenses for these genres, on a FF35 Epic or Scarlet, the 15-25mm zoom would cover wide needs quite nicely. The 70-200mm zoom would get a lot of use, especially if RED offers 1.4x and 2x extenders, as would the 300mm. Let's not assume that RED will stop there. They may eventually offer a wider zoom - maybe an 10-15mm. I'm guessing they may also eventually offer a longer zoom, maybe a 100-400mm f2.8. It would also not surprise me to eventually see RED offer an electronic 10:1 or even 15:1 super-zoom, maybe 18-180mm, or even 18-270mm, at f2.8. If the RED Electronic Lenses are as good as I think they'll be, I could see myself eventually selling off all my Canon and Nikon lenses and strictly using RE Lenses for all my motion and stills needs. We'll see...

    Having lighter, higher frame rate cameras that can use electronic RED, Canon, or Nikon lenses, and fully utilize the lens' electronic capabilities, is a great indication that RED is taking care of those of us who shoot mobile productions (and stills) using wide to long 35mm stills lenses (mostly zooms). RED has definitely been listening to our input...

    RED Team...you seriously ROCK! Thanks...
    Golden Gate 3D
    Executive Producer, Director, DP, Cinematographer
    Epic-M 0008, Epic X (2), RED One 0008, Red One "London"
    http://www.gg3d.com/ (Golden Gate 3D web site)
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    http://www.artbeats.com/footage/search?fh44=1 (Artbeats Gibby RED Collection)
     

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  #490  
    Quote Originally Posted by buhot View Post
    One thing I like in my Red1 is that I can attach my red drive at the back of it... And slide it backwards until it counterbalances the weight of a big/huge telephoto lens... I can't see anyway to do so in those renders... looks all cleaner and nicer, but how do we use the red 1 drive, and how about balance with a lighter camera body (unless we want to use a heavy cheese plate) ? I know.. mean and practical, but I'm shooting wildlife, and I'm not alone here doing so...
    Dont worry there is a new accessory for that , and there are bolt locations for you so you can still use your old cradle if you wanted to.
     

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