Pfff... just fix that in post... :/
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03-13-2007, 10:23 AM
Pfff... just fix that in post... :/
03-13-2007, 10:27 AM
The new red one is without the bolts circling the front. Last year talked to RED Team members about eclair 16mm mount change system on ACL which puts the mount against a solid notched plate and holds in place with an outside ring which tightens it in place. The new red looks like we are seeing a similiar ring around the base of the mount. The accuracy of the machining being in the .001 range you should be able to exchange mounts without significant back focus problems. I have used the Eclair system and it works well I'm very optimistic about the RED mount interchange scheme.
03-13-2007, 10:27 AM
Hi Brook,Originally Posted by Brook Willard
I know many people who own post houses that would say the same thing!
Stephen
03-13-2007, 10:42 AM
Well, that's certainly true Stephen, in certain types of production environments. Cine-style production with actors hitting marks definitely calls for the greater precision you described. I think that, keeping in mind the WYSIWYG capability of RED One, and the wide variety of style and genres it enables, that there are multiple EFP uses for RED One where the shooting style and DOF requirements free up the shooter to be able to essentially do run 'n gun EFP, with medium to deep DOF, using the 720p EVF/LCD and focus assist on the fly. The vast majority of productions worldwide are EFP-style, and most of them require shallow DOF only for a few specific shots. Critical focus is obviously easier for the shooter to achieve in a medium/deep DOF shooting environment - thus true WYSIWYG mobile EFP production is enabled.
Once we get our hands on RED One and test out the EVF, LCD, and focus assist, we’ll know the parameters of how much WYSIWYG shooting is enabled. To get back to the thread mainstream, I think RED will pay close attention to tolerances as they design and machine their parts. They've said that lens mount changout will be relatively easy in the field.
03-13-2007, 10:46 AM
Stephen,
I guess you haven't heard of the blown split filter that is used in post production houses.
Chuck
03-13-2007, 11:09 AM
RE Nikon mount, what about the engineering company that wants to make a nikon mount which will control af lenses? maybe wait for nab to see?
03-13-2007, 01:28 PM
WYSIWYG? not yet, but it will be when there is a way to view live 4k.
Mike
03-13-2007, 02:34 PM
OK...then how about this:
"4k or 2k downconverted live via HD-SDI output to 1080p for WYSIWYG monitoring"
and
"4k, 2k, and 1080p downconverted live to 720p EVF and 720p LCD for WYSIWYG monitoring".
I don't think you need live 4k monitoring to achieve effective WYSIWYG monitoring of parameters like framing and focus - 1080p and 720p will do just fine. If you're waiting for affordable, mobile, live 4k monitoring in order to trust in a WYSIWYG acquisition environment, then you're in for a long wait.
03-13-2007, 03:29 PM
So, I wonder if I should get the RED 300MM which I have reserved or
just use a Nikon telephoto lens? Since we don't know anything yet I guess we will have to wait and see??
03-13-2007, 03:45 PM
I'd get the RED 300mm if you can afford it. It's cine glass, and my hunch is that it will be a very sharp lens - well made. The 4k footage I saw from the RED 300mm at the L.A. screening looked stellar. I've ordered one and I can't wait to test it out. Nikon lenses are excellent. I've used them since 1969 on various of my camera systems. A Nikon 300mm would undoubtedly gibve you good results on RED One, but IMO I personally don't think the results would be as good as the RED 300mm lens.
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