I'd be open to joining the shoot, even just to help out if I don't have my Scarlet yet. Let me know please.
Do you ever work with Syntheyes and 3D tracking? Im dying to get my Lcd and SH so I can shoot something to track with my steadicam. Oh and I bet Green screen is going to be ridiculously easy vs. HVX footage which was that much easier to key than the DVX!
Has there been any advances in making spherical maps in the last 6 years. I played with a mirrored gazing ball with my canon 10D, but I gave up real quick, lol.
I have been dreaming of shooting over cranked to help with 3d tracking, then speeding it up to normal. I bet I could get amazing tracks with bouncy footage at >48fps... but test test test.
Btw, are you using any LTO's to back up to?
I'm also in LA. While I don't have a Scarlet yet, I'd love to help out in any way at this potential Scarlet Mexican Standoff.
Please do it, Phil :)
The increased resolution and color depth makes keying a breeze. Especially if you're coming from the HVX. Just remember to light your green screen/blue screens properly and it's a fairly trivial process. You'll still have to deal with things like lace or slightly transparent fabrics, but it's so much easier.
I'd say there's been some advances in the last 6 years when creating Spherical HDRIs :) I've developed some software called "Panorganizer" that makes on set HDRI acquisition an easier process for the HDRI Operator. The rigs I'm building are extremely cost effective and outperform "the other two big guys" which land at $50k-$96k. I've got the time down to 19 seconds for 8k (32 megapixels), 40 seconds for 15k (112 megapixels), and 60 seconds for 20k (200 megapixels) depending on the setup. There are now 36 of these rigs out in the wild being used on productions all of the world. Movies I'm not even working on. Pretty cool actually.
If you'd like to read up on more about that and see the interface here's a link: http://www.artbyphil.com/phfx/panorganizer/index.html
I will likely be purchasing an LTO-5 setup within 30 days. I currently have triple redundancy with my drive setup. This works nicely, but it's also not the best solution. Also, when material is sent to studios they back things up with their own methods. I might build a half rack storage solution to have back at "headquarters". I'm also exploring building a quarter rack DIT station to haul out on set. So much to do! Much of my concepts and solutions on this front will be determined by work I'm doing this year. I'm in the talks for something very "nature" based at the end of the year and I'd probably want somewhere around 40TB in a field unit for that type of work. If that gig a go I'll be designing a fairly customized rig that I can travel with.
Globalmediapro Battery Review: As Zac C mentioned, these suckers are powering the Scarlet for around 3 hours. Which is very nice. They report their percentage back to the camera just fine. I'm still waiting on the DSMC Side Handle as I feel the added functionality of hot swapping and having a more accessible controls for handheld/shoulder setups is worth the price. I will be ordering two more GMP 160Wh batteries though. I've shot with them for a couple days and have had no problems whatsoever. On that front, the x IDX V-Mount Quick Back is working like a champ. Popped it off for a compact setup the other day and mounted it on top of the camera. Fast and functional.
Red Workflow: Over the course of the last couple days I've met with several "industry" folk out and about here in LA. Notably Steve from Zacuto and Bob Primes, ASC. Lots of tech talk about working with different systems discussing things like image quality, weight, and usability. Interesting stuff. I sought out a lot of advice from Bob Primes about some career decisions I'm making right now on a couple projects. He's walked about 10 miles in the direction I'd like to be going and his words certainly had a lasting impact. Very grateful for that talk.
Also ran into some fairly "anti-Red" folk out there. Showed them the Scarlet X and the material it was producing after having a quick meeting discussing several other cameras, both out now and not announced yet. It was a real eye opener for a few of them. I'm a little shocked by the fear, confusion, and misinformation. Mostly due to a lack of information post processing and workflow of the material. After showing off literally 15 clips there was a lot of "there's so much detail", "I can't believe the latitude", "I can see the dirt on the ground". That kind of stuff. There is certainly something about Red that gets people's blood moving.
Resolution: If shooting at 4k or with Red is new to you, once you get your post workflow down you're going to notice that there's just a lot of resolution and detail to be had in your R3D clips. One clips I showed off to the people mentioned above was shot at f/2.8.
Full resolution image here: http://www.artbyphil.com/phfx/photog...obTattoo4k.jpg
There really aren't many digital motion picture cameras out there that can do this. Red makes 3 of them though.
Black and White/Color:
One thing I really wanted to try out was some black and white work. Oddly, I've never produced anything in black and white with any of the Red cameras until my last shoot. The freedom you have grading your images in post is astounding. The tonality is really wonderful. You can crush your blacks, lift your darks/midtones, and retain your highlights with no problem at all. This for me is a huge selling point on the camera.
Color is equally as impressive. If you want to crank up the saturation on something to "surreal" levels you can without an issue at all. In fact I don't know if I've used a camera that you can do this much pushing to and have it hold up.
Here's a quick shot of that setup as well:
I found an old Manfrotto HDV501 head in storage and I'll be using it with this Kirk Low Pod for some very low level shooting. This was just a test to see if the head could pan smoothly at macro and how the body balances on the Kirk Low Pod. It did fine. I loathe this head, and I've been using it only for support on my Cobra Crane Backpacker. It's found new life here and with this setup I can get a bit lower than my Hi-Hat.
For those following along you'll notice I've changed my top handle a bit to add support for quick release 15mm. This is to assist with supporting longer telephoto lenses, which I needed to do yesterday for sunset shot. That is indeed the Redrock Micro DSLR baseplate mounted upside down on top the Scarlet X.
I'm still waiting on my machinist to finish up my "exoskeleton" for the Scarlet. I have to say though, I'm having way too much fun with my little hacked together rig and all the strange configurations different shoots have led it too. The 3 pronged leg thing happening on the shoulder rig I'm absolutely sold on. It's somewhat similar to how the Clutch sits on the ground. I'm going to have him build a dovetail on the bottom 15mm rods so I can properly balance the rig with longer lenses. I'll also tackle the shoulder support pad too. Kinda dislike this one. Good for all weather situations, but bad for comfort on real long days.
I'm off to Austin for a about a week, but I'll be checking in and shooting along the way. Might even post some pictures from the road.
Dude, that pushed saturation example is outstanding. Looks INCREDIBLE, and you're right... I can't think of another camera that creates footage that will handle a crank up in saturation like that!
Phil, I can't thank you enough for posting these. Really informative and gets my creative juices flowing while waiting for my Scarlet.
I can't say this enough, Phil is one awesome dude!
|« Previous Thread | Next Thread »|