are we back in action? :)
Hello, I am new to this forum although not new to RED; I have logged many hours on both sides of the camera, as an actor and as a producer (day job is VFX, mostly on studio films). I am based in Los Angeles. If anyone with a camera and housing is interested in shooting test footage in the ocean out here, please get in touch with me. I am an avid freediver/spearo and I want RED UW footage to tinker with. I can bring some very high end post production polish to whatever you shoot, intimate knowledge of the local waters and kelp forests, as well as buddies (both tank and freedive) who are cinematography and design professionals to act as safeties, grip or additional operators.
To give you an idea, here is an edit of some recent test shots my buddy and I did using a goPro, depths of 25' to 50'. It has a tiny bit of color correction/sweetening but there is little that can be done with a goPro. I am the diver/hunter in the video.
Greetings all, after having shot with the Rouge for the last 10 days or so, I have decided to take on a dealership for the housing.
Very impressed with the ease of use, the balance of the housing underwater, and above all, the instant access to all camera functions. If you know how to operate your Scarlet/Epic, learning this housing is very intuitive; each and every control is programmable in the same way as the camera; changing looks for varying depths, switching frame rates, project settings, shutter angles/speeds, etc, all available on the fly.
As someone who has learned from the careful observation of the best in the business, I will personally guarantee legendary after-sales service and support, in direct liaison with the Amphibico/Aquatica factory in my hometown of Montreal.
Any questions about the housing, controls, operating modes and so forth, please contact me at firstname.lastname@example.org, or pm me here on this forum for alternate contact details. Deliveries are on track to begin in January.
Attached are grabs of one's self and the Rouge seeing action at Tiger Beach last week, shot courtesy of Emmy Award winning u/w cinematographer Frazier Nivens. Frazier hired me to assist on a Discovery Network shoot, needless to say, he is an absolute pleasure to work for, and as one with an astonishing wealth of knowledge and experience, an eye-opening shooter to learn from. I feel very fortunate for the experience.
Regards to all,
Hello everyone. I'm new to this forum and wanted to talk with everyone! I work for Equinox Housings and wanted to know if anyone uses our housing for any of the red cameras? If so, how do you like it? Our housings are the most affordable in the industry. If you are looking to research/buy one. You can ask me any questions you may have!
IS SOMEONE THERE , Awared MENTION D´HONNEUR _ 30º SPORT & TV MILANO INTERNATIONAL FILM FICTS FEST 2012 .
Dive Video art filmed and produced by Txema Vega / Underwater Film Service. Editing and Color grading by Victor Subirana. Music by Cristian Vogel. Graphics by Sandra Clua. Filmed in NEMO33 - Brussels (deepest pool in the world). Shot with Gates Deepred housing . Camera Red one , Lens Ultraprime .
Link of Is Someone There
Underwater Film Service
Season's greetings, good people!
Just back from Poway, CA with the new Deep Epic, a true marvel of precision engineering from John Ellerbrock and his great team at Gates. And as usual, excellent customer service.
Optical question: What is the best choice for a fisheye lens behind the Gates glass dome?
I always get sharpness falloff with the Duclos 11-16mm and the RED 17-50 zoom behind the acrylic dome, more noticably so at the wider end of the Duclos. I still haven't found a good answer to whether this is caused by any or all of the following factors:
- The specific lens does not hit the sweet spot of the dome (i.e. front element must be moved forward or rearward)
- Zoom lenses cannot by their design always hit the correct focus point/focal plane of the dome's virtual image
- Rectilinear lenses can never meet and compensate for the curvature of the dome
Do I need a fisheye to correct for the dome curvature? Which focal length is optimal? Will a prime wide angle lens in the 10 - 15mm range be an improvement over a zoom? Or do I have to live with a certain amount of sharpness falloff behind any dome?
....sensor size and rectilinear lens are two big reasons why you see this vs. smaller sensor cameras behind dome. You can use rectilinear and reality is the shot is the shot....sure, you can do much better and you should strive for that. You can always crop your 5k image down a long way to 1080p. Next move is find a fisheye you like....the tokina 10-17 is really nice, but you need to zoom a bit for coverage. My go to winner so far and top of list for me is Sigma 15mm FX fisheye. I can't say enough about that lens. I've some examples here:
Tokina 11-16 PL DX Rectilinear:
[IMG] Tokina 11-16 PL by RedCineUnderwater, on Flickr[/IMG]
Sigma 15FX fisheye:
[IMG] White Shark circles Cage by RedCineUnderwater, on Flickr[/IMG]
Nikon 16-85DX rectilinear:
[IMG] Nikon 16-85 by RedCineUnderwater, on Flickr[/IMG]
RED 18-50PL Rectilinear:
[IMG] Hammerheads in Open Water by RedCineUnderwater, on Flickr[/IMG]
Basically i'd say "artistical" choice or in my case from my earlier days....use whatever means necessary or you got in hand....then increase contents of tools in the bag and see what you like best.
Hmm, the Great White shot really seems to stand out in sharpness, both overall and edge-to-edge. What do you use to unwarp the image, After Effects?
Would you say that the Sigma 15mm overcomes most of the sharpness falloff behind a dome?
|« Previous Thread | Next Thread »|