Scarlet #00006 - Tests (including R3Ds)

[Nick Gardner]

I have a full set of lomo standard speeds from 1990-91 and set of ekran speeds 28, 35,50, 75, and a set of square front anamorphics from the late 70's early eighties. I've used them extensively on the MX red one. Some where over in the lens test section there are stills from the lomos allong next to a k-35 and a zoom.

Nick

[Brandon J.F.]

I found your thread with the tests. Thanks for sharing this.

http://www.reduser.net/forum/showthr...un-and-science

[Brandon J.F.]

A little taste of a few things I've been working on with my Scarlet...

[Brant Hadfield]

There's a good reason GWDT was shot with anamorphic instead of spherical 2.35:1 (apparently that is incorrect! shot spherical and cropeed, but) - and almost always wide open in that film. Mated with the Epic/(Scarlet here), it produces images much more like film, period. Tames the brutally digital sharp images into something far more pleasing to my eye.

Now sensor flare. Isn't it a particular problem with RED vs other video cameras? Here's a still frame from my AF100 with Voigtlander 25, right at the sun.

Here's a link to the clip from the project. (Don't get excited about the music, it's a place holder. I need music to edit to).

http://youtu.be/1uLqwFnPNL4

[Brandon J.F.]

There's a good reason GWDT was shot with anamorphic instead of spherical 2.40:1 - and almost always wide open in that film. Mated with the Epic/(Scarlet here), it produces images much more like film, period. Tames the brutally digital sharp images into something far more pleasing to my eye.

I'm pretty sure that GWTDT was shot with Master Primes which are not anamorphic.

[Matt Ryan]

There's a good reason GWDT was shot with anamorphic instead of spherical 2.40:1 - and almost always wide open in that film. Mated with the Epic/(Scarlet here), it produces images much more like film, period. Tames the brutally digital sharp images into something far more pleasing to my eye.

Now sensor flare. Isn't it a particular problem with RED vs other video cameras? Here's a still frame from my AF100 with Voigtlander 25, right at the sun.

Here's a link to the clip from the project. (Don't get excited about the music, it's a place holder. I need music to edit to).

http://youtu.be/1uLqwFnPNL4

GWTDT was shot spherical on master primes with a post 2:35 crop. Anamorphic flares were added in post.

[Les Hillis]

Thanks for the images Brandon, is interesting to see some of the more obscure lenses being tried out. It looks to me like you're getting some good results. Are the images from a production, or are they purely test shots?

[Brandon J.F.]

Thanks for the images Brandon, is interesting to see some of the more obscure lenses being tried out. It looks to me like you're getting some good results. Are the images from a production, or are they purely test shots?

The first shot is from a music video I am doing (Russian rapper). We still have a couple more days of shooting to do. 22mm LOMO ~T2.2. This was lit with a Cool Lights LED 600 and a smaller cheap LED.

The second shot is just a quick test with natural light. I forget which lens it was.

The third is a test for a feature I am starting soon. Only a very small battery powered LED light was used off to the left side. The rest is just what we could get from the street lights. This was the 35mm LOMO wide open (T1.7).

No more than a couple minutes were spent grading all 3 shots before I put these pics online.

[Brant Hadfield]

GWTDT was shot spherical on master primes with a post 2:35 crop. Anamorphic flares were added in post.

If so then I may have misinterpreted what I'd read about their use of lenses and reasons . I'd also read Fincher shot wide open almost all the time " to keep it shallow to echo a film-style look." I believe that is correct. But why would a sensor size equal to S35 motivate a very shallow DOF to emulate a "film-style look"? Many cinematographers who shoot film (or video) avoid such wide open apertures because it puts the lens in a compromised state. I've read Deakins talk about this often. My take from what I've read and heard is that it mitigates the inherent video crispiness of the Red sensor.

[Les Hillis]

Thanks for the extra info. Hopefully you'll be able to share some more finished results sometime.