Nuevo OLPF para Red Epic Dragon

Phil Holland (Cinefotógrafo y DIT de renombre internacional) acaba de postear una interesantísima prueba del nuevo OLPF (Optical low pass filter: filtro que se ubica delante del sensor de muchas cámaras digitales para evitar principalmente el efecto de moiré y aliasing, entre otras cosas, se utiliza casi siempre en sensores con patrón bayer) para el sensor de la nueva Epic Dragon. Como se conoce, las cámaras Dragon que han estado siendo entregadas tenían un problema con el OLPF que traía flares indeseados cuando se filmaban fuentes de luz directamente.

Este es el link a la prueba en el forum de Red (Link)

Multiviral - Calle 13

Pruebas de cámara 4K.

Interesante y muy completa serie de pruebas con la mayoría de cámaras capaces de filmar en formato 4K, actualmente disponibles en el mercado del audiovisual profesional. (Sony F65, F55, RED Epic, Red Scarlet, Canon C500, Canon 1DC, JVC HMQ10). Filmado con el apoyo de KOCCA (Korea Content Creation Agency) por el Director de Fotografía Jae-mo Koo.



Las pruebas verlas en calidad full HD para apreciarlas mejor.

Jim Jannard "My final post..."

Jim Jannard, fundador de Red Digital Cinema (fabricante de las cámaras Red One, Red EpicX y Red Dragon), publicó hoy lo que ha llamado su artículo final, en el forum de Red (link), el cual reproducimos aquí íntegramente. Si es cierto que se retira para siempre (dejando a cargo a Jarred Land), pues le decimos adiós con un gracias infinito, porque a pesar de todo lo polémico del devenir de sus cámaras, la verdad es que cambió el rostro del Cine y el Audiovisual para siempre. Suerte Jim Jannard!

I have said before... I'm tired. I really am.

I started Oakley with $300 and then proceeded to put over 5,000 people to work in California. Against all odds, we passed RayBan in worldwide sales in 1996. I am so proud of what we accomplished at Oakley. Inventions wrapped in art. Thermonuclear Protection. I actually had an impeccable reputation every day from start to finish. 

In 2005, I could see that the powers that be (Sony, Arri, Panavision) were going to attempt to persuade the film industry that 1080P was going to be the digital replacement for film. The F900, F23, Genesis, D20. I did not agree. As a film fanatic, I knew that digital would replace film, but I wanted that replacement to be respectful to film. 1080P or 2K was not respectful.

So at the end of 2005, I made the decision to start RED. The idea was to make a 4K digital camera. My thought was to create a film alternative that actually was the equal or better to film in every aspect. Send film to the retirement home proud of what we had done.

Now... replacing film properly is no easy task. It is about resolution, dynamic range, color, ease of use, cost to shoot, post options... quite a lot of stuff. We accepted the challenge.

In 2006, we announced the RED ONE. 4K for under $20K. That was quite shocking. Sony's digital cinema cameras were $200k+. Apparently shocking enough that I almost got into a fist fight with Geoff Boyle in the aisle of NAB where he questioned why we would "scam" people into giving us $1000 deposits for a product that could never happen. Scam? This is the 1st time anyone had ever questioned my integrity. Ever. In hindsight, I wish I would have pulled the trigger. Maybe I'll get the chance one day. Actually... I look forward to it. (furrowed eyes here)

At that NAB in 2006... we also declared Obsolescence Obsolete. We talked about upgrades instead of having to buy a new camera every time there was some new technology advancement. This concept was new. I had never seen a company do what we were talking about. I still haven't. The question is... could we really do this?

We released the RED ONE with Mysterium sensor... 4K for $17,500 in 2007. It recorded 4K REDCODE to a Compact Flash card! The only way we could do that was through incredible compression technology. "Ché" and "Knowing" were shot on this camera.

Our color science improved on a continual basis. We upgraded firmware for free... as we should have.

Then... we developed the next generation sensor, the Mysterium-X. We offered this sensor as an upgrade. You didn't have to buy a new camera, just send your camera in and pay for the upgrade. As far as I know, this was a first in the entire camera world. Obsolescence Obsolete was alive. Several more features were shot on the RED ONE MX, including "The Social Network", "The Girl with the Dragon Tattoo", "The Informant" and many others.

I should mention here that there were many color science and feature upgrades... for free. Again, what company ever offered that?

Enter the EPIC. As promised, Obsolescence Obsolete continued. Trade in your RED ONE for FULL price value towards an EPIC. I defy anyone to find a program on any electronics product in any industry like this one. Your "old camera" just became a "new one".

EPIC is legendary. The amount of projects shot on EPIC will go down in history. "The Amazing Spiderman", "The Hobbit", "Prometheus", "The Great Gatsby"... the list is too long to type.

So what next? The Dragon.

The Dragon is an Obsolescence Obsolete upgrade. More resolution. More dynamic range. More color depth. And it is an upgrade.

Somehow... I read on CML and other idiotic forums, that I an a hypester, a scam artist. I just have to wonder what these guys are smoking. But I have to say... they have gotten to me. I don't need this. I don't deserve this. Life is short and I am tired.

I can only hope that the incredibly stupid posts from people like Geoff Boyle and Art Adams (many other CML posters) do not in any way taint the work we have actually done.

With the release of the Dragon sensor... I have finished my mission. I am done posting. I will no longer be the face of RED. Mercifully, Jarred will take my place and he is worthy times forever. Jarred is me... only 30 years younger.

My final thoughts...

I have done my best. I saw a fatal flaw in the camera industry. We did our best to address it.

I will now sink into the background, I hope with my reputation intact. I will work on the future of digital cinema... behind the scenes.

God love us all.

Jim
"The camera is arguably one of the most important of all inventions… it is the single tool that has the ability to stop time, record history, generate art, tell stories, and communicate messages that transcend language like nothing else ever conceived."

"Everything in life changes... including our camera specs and delivery dates..." 

We reserve the right to refuse service to anyone with a bad attitude.

Cámaras 4K, quien fué primero?

Jim Jannard ha aclarado algunas dudas que se han generado con respecto a la historia del 4K y su adopción por la Industria del Audiovisual en general.

Tomado de Reduser.net 

Sony… get real.

It appears that Sony is now attempting to re-write history and be the champion of 4K.

http://www.pocket-lint.com/news/1206…ouple-of-years

Really? I don’t think so…

Re-writing history isn’t going to happen because I am personally not going to let it happen. Let’s get this one straight. RED… 4K delivery. Period.

What are the facts?

Sony developed the Genesis digital camera (with Panavision as the frontman) in their best effort to replace film with digital. Just ask John Gault. It was a 1080P camera. RGB codec.

After the Genesis, Sony released the F-23 Digital Cinema Camera (without Panavision). It was still 1080P. And it recorded RGB to an SR deck. It was $225K+. This was the best that Sony had to offer the cinema industry. The RED ONE (4K) was less than $20K at that time.

About the time we released the EPIC (5K for a 4K finish), Sony released the F35. The F-35 was $325+ with SR deck RGB recorder. Again… it was 1080P. But it was full frame… (rolls eyes).

Finally, in 2012, (over six years after we championed 4K), Sony released the F65. Good for them. It was about time. While Sony misrepresented it as an 8K camera… it actually is a 4K camera, that is OK with me. They finally joined the 4K club.

At CES this year (2013), there were 28 4K panels shown by several companies and the world began to understand that 4K is finally here. Sony was one of the many companies that showed 4K panels. Surprisingly… Sony had no 4K player. Of course RED did. Apparently Sony forgot that you need a player to complete the 4K ecosystem.

And now Sony wants to pretend that they are the company that invented and is delivering 4K? Their lack of belief in 4K is the single reason that RED exists.

Make no mistake… Sony was NOT the company that dictated the future. Quite the opposite. They were the obstacle to the future. Apparently they have now seen the light (under pressure). Just remember they were the last one in…

And one last thing… apparently the Sony camera division needs to emulate RED in just about every way imaginable. Flattering. I’m blushing.

One last thing… I’m talking about Sony Electronics. Sony Pictures rocks.

Jim

REDmote

REDmote from RED Digital Cinema on Vimeo.

Montura Canon para RED Epic/Scarlet: qué óptica usar?

 
Esta es la lista de la óptica (electrónica) recomendada por RED, que puede ser utilizada con la montura Canon para la RED Epic/Scarlet.

Canon EF 100-400mm f/4.5-5.6L IS
Canon EF 100mm f/2.0 USM
Canon EF 100mm f/2.8L Macro IS USM
Canon EF 135mm f/2.0L
Canon EF 135mm f/2.8 Softfocus
Canon EF 14mm f/2.8L II USM
Canon EF 15mm f/2.8 Fisheye
Canon EF 16-35mm f/2.8L II
Canon EF 17-40mm f/4L
Canon EF 180mm f/3.5L Macro
Canon EF 200mm f/2.0L IS
Canon EF 200mm f/2.8L II
Canon EF 20mm f/2.8 USM
Canon EF 24mm f/1.4L II
Canon EF 24-105mm f/4L IS
Canon EF 24-70mm f/2.8L
Canon EF 24mm f/2.8
Canon EF 28-300mm f/3.5-5.6L IS
Canon EF 28mm f/1.8 USM
Canon EF 28mm f/2.8
Canon EF 300mm f/2.8L IS
Canon EF 300mm f/4L IS
Canon EF 35mm f/1.4L
Canon EF 35mm f/2
Canon EF 400mm f/2.8L IS
Canon EF 400mm f/4.0 DO IS
Canon EF 400mm f/5.6L
Canon EF 500mm f/4L IS
Canon EF 50mm f/1.2L
Canon EF 50mm f/1.4 USM
Canon EF 50mm f/2.5 Compact Macro
Canon EF 600mm f/4L IS
Canon EF 70-200mm f/2.8L IS
Canon EF 70-200mm f/2.8L IS II USM
Canon EF 70-200mm f/4L
Canon EF 70-300mm f/4-5.6 IS USM
Canon EF 70-300mm f/4.5-5.6 DO IS USM
Canon EF 800mm f/5.6L IS
Canon EF 85mm f/1.2L II
Canon EF 85mm f/1.8 USM
Canon EF-S 10-22mm f/3.5-4.5 USM
Canon EF-S 17-55mm f/2.8 IS USM
Canon EF-S 18-200mm f/3.5-5.6 IS
Canon EF-S 60mm f/2.8 Macro USM
Sigma 10-20mm f/3.5 EX DC HSM
Sigma 20mm f/1.8 EX DG ASP RF
Sigma 24-70mm f/2.8 IF EX DG HSM
Sigma 50mm f/1.4 EX DG HSM
Sigma 70-200mm f/2.8 EX DG APO Macro HSM II
Sigma 85mm f/1.4 EX DG HSM
Sigma APO 50-150mm f/2.8 II EX DC APO HSM

El último día.

Hoy es el último día del año 2011, y también la última oportunidad de poder hacer un pedido por la Red Scarlet-X o la Epic-X con los precios actuales. A partir de las 12 de la noche de hoy, todas las opciones de estas cámaras en cuastión aumentarán su precio significativamente. En palabras de Jarred Land publicado en el forum de Red.com. Today, 02:36 AM Hey everyone, just a reminder come Jan 1st price adjustments come into play , so tomorrow is your last day to get your pre-orders in at current pricing for Brains and Brain packages. Some good news though.... since a lot of accessories are still in backorder and/or development, we have decided to extend out the price increases on all the individual accessories that were to increase on January 1st out until March 1st. SCARLET-X (Brain only) Jan 1: $9700 Current: SCARLET-X with Side SSD / Ti PL Mount is $11,250. Jan 1: $13,200. Current: SCARLET-X with Side SSD / Ti Canon Mount is $11,250. Jan 1: $13,200. Current: SCARLET-X with Side SSD / Al Canon Mount is $9750. Jan 1: $11,700. Current: SCARLET-X with Side SSD / Ti PL Mount package is $15,515. Jan 1: $17,465. Current: SCARLET-X with Side SSD / Ti Canon Mount package is $15,515. Jan 1: $17,465. Current: SCARLET-X with Side SSD / Al Canon Mount package is $14,015. Jan 1: Move to $15,965. Current: EPIC-X (Brain only) is $27,500. Jan 1: Move to $34,500 Current: EPIC-X with Side SSD / Ti PL Mount is $31,000. Jan 1: $38,000 Accessories : Current: DSMC Side Handle is $950. March 1: $1200 Current: RED Touch LCD 5" is $1600. March 1: $1950 Current: REDmote is $550. March 1: $750 Current: Pro I/O Module is $2950. March 1: $3750 Current: Pro Battery Module (Dual) is $1250. March 1: $1450 La opción de poner una orden para una Scarlet-X/Epic-X(stage 4) es una inversión importante, pero el detalle de que solamente se deposita un 10% al momento de ordenarla por internet, y luego se hace el pago al momento de verificar el envío del equipo (posiblemente con unos 2 o 3 meses hasta la entrega, debido al volumen de ventas/entrega), hace que exista una ventana de tiempo hasta el pago final, haciendo más fácil la financiación de estos equipos. Red.com Aquí les pongo dos videos sobre la nueva Scarlet-X realizados por Sebastian Wober, administrador del sitio Cinema5D.

Video HDR, la nueva maravilla.

Magic Lantern acaba de anunciar un nuevo firmware GRATIS para implementar un modo de video HDR en ciertas cámaras Canon HDSLR (550D, 60D, 600D en un inicio, la 5DmarkII y agunas otras tienen un problema de syncro en la actual implementación del firmware, no existe ninguna versión para la 7D). Combinando dos(2) exposiciones diferentes a diferente valor de ISO y luego utilizando en post un software para interpolar esas diferentes exposiciones en un mismo stream de video, buscando un resultado como el del HDRx de las Red Epic y Red Scarlet-X, que obtienen dos (2) exposiciones con diferente valor de shutter y luego las combinan en post para lograr hasta 18 stops de rango dinámico, con impresionante detalle en altas luces y sombras. Magic Lantern es un grupo de profesionales que han logrado una serie de firmwares para implementar en las Canon HDSLR algunos detalles faltantes en estas cámaras como niveles de audio en pantalla y zebras.

El firmware será puesto a disposición de todos mañana 22 de diciembre de 2011 a las 22:12 GMT.

La primera RED Scarlet-X ha sido entregada!

La primera RED Scarlet-X ha sido entregada hoy a su nuevo dueño, Tonaci Tran, propietario de una casa de Renta especializada en cámaras RED (Red One, Epic-M, Epic-X y ahora Scarlet-X)

"We love the RED ONE.."

Today, 08:26 AM We love the RED ONE. The RED ONE MX just finished shooting "The Girl with the Dragon Tattoo"... along with so many others. We will probably not sell any more RED ONEs but will certainly continue to support it. Jim Hoy a las 08:26 AM Nosotros amamos la RED ONE. La RED ONE MX acaba de filmar "The Girl with the Dragon Tattoo"... a la par de muchas otras. Nosotros probablemente no vendamos más RED ONE's, pero ciertamente continuaremos brindándole soporte. Jim

Epic-X etapa 3 & 3.5

ETAPA 3 $ 28.000 con un máximo de $17.500 dólares de crédito para ser canjeado por la RED ONE. Las cámaras sólo serán elegibles si ya recibieron el invoice de RED o de haber completado el proceso oficial de transferencia de la propiedad de la cámara hasta el 29 de octubre 2009 INCLUYE: EPIC-X (cuerpo de cámara) Montura PL MÓDULO SSD 5 "LCD táctil REDMOTE MÓDULO ADAPTADOR Módulo de batería PRO 2x REDVOLTS CARGADOR DE VIAJE DSMC 1 año de garantía Garantía extendida: RED ARMOR es una extensión de 2 años del programa de garantía de su EPIC-X, que se puede comprar dentro de 1 año de la factura original. Aditamentos indispensables: ESTACIÓN REDMAG de 1,8 " REDMAG SSD Media - 64GB, 128GB, 256GB 1,8"

ETAPA 3.5 $27.500 con un máximo de $17.500 con potencial para ser canjeado en la RED ONE. Las cámaras sólo serán elegibles si ya recibieron el invoice de RED o de haber completado el proceso oficial de transferencia de la propiedad de la cámara después del 29 de octubre 2009 pero antes del 22 de mayo de 2010. incluye: EPIC-X (cuerpo de cámara) 1 año de garantía Garantía extendida: RED ARMOR es una extensión de 2 años del programa de garantía de su EPIC-X, que se puede comprar dentro de 1 año de la factura original. ADITAMENTOS INDISPENSABLES: Modulo SSD ESTACIÓN REDMAG de 1,8 " REDMAG 1.8" SSD. Media - 64GB, 128GB, 256GB Power: REDVOLT, adaptador de corriente AC o el paquete básico de poder Monitor: RED Touch 5.0 "LCD o EVF ® BOMB ( el BOMB EVF requiere empuñadura lateral dsmc o REDMOTE para navegar por el menú) Montura para lentes: Montura PL ò Canon EOS de titanio. Artículos recomendados: Empuñadura Lateral REDMOTE baterías REDVOLT CARGADOR DE VIAJE DSMC Si eres dueño de una RED ONE, debes iniciar sesión en el siguiente link para ver si eres elegible para una de estas etapas.

Peter Jackson sobre filmar "The Hobbit" en 3D con la Red Epic en 5K.

Scarlet Preview.

Scarlet preview... – Today, 01:53 AM- Scarlet is now a professional camera. It will be more expensive. And there will be no discounts for RED ONE owners. That is all the bad news there is... Jim Scarlet ahora es una cámara profesional. Será mucho más costosa. Y no habrá descuentos para dueños de cámaras RED ONE. Esas son todas las malas noticias que hay. Jim.

Leona Lewis "Collide"

Dirigido por Ethan Lader, filmado con cámaras ARRI Alexa, Red Epic y Weisscam HS-2, con velocidades entre 24fps y 2000fps(Weisscam HS-2). Disfruten :)

Rihanna "Man Down".

Filmado con una cámara Red Epic en locación, Jamaica y Rihanna hermosamente fotografiadas por Anthony Mandler.

RED vs ARRI.

Con respecto a la situación actual, en Cinefotografiando consideramos ambas compañías como las líderes del medio, dignas de respeto inspirado en su historia de servicio. Hasta que se haga pública una declaración de ambas partes, en Cinefotografiando no nos haremos eco de ninguna posición fuera de lugar. Un saludo cordial.

NOVEMBER 3rd.

El 3 de Noviembre de 2011 promete ser uno de los días más interesantes de la década, Canon tiene un anuncio histórico para el mundo según sus palabras, "a game changer for Hollywood..". Mucho se habla de ella, muchos rumores que no quisiera repasar hasta ese día. Pero ayer, Jim Jannard, la persona detrás de Red Digital Cinema, comentó que el 3 de Noviembre, a las 6pm será oficialmente anunciada la nueva RED SCARLET, en ese momento se dirá publicamente precios y fechas de entrega, además que las pre-órdenes de compra para la cámara comenzarán a las 7pm del mismo día. El propio Jim Jannard posteó lo siguiente con respecto a la fecha: "I had to ask my wife if it was OK to sit in front of my computer on Nov. 3rd. She asked what was going to happen. I told her. She said "OK". :-) Jim"

"One camera to rule them all"

Artículo completo en The Daily.

Hands on.

Los videos "Hands on" en nuestro medio, son videos hechos con el objetivo de enseñar de manera rápida y concisa especificaciones tecnicas de una cámara determinada. Cierto es que ningún video puede suplir la experiencia en filmación con cada una de estas cámaras, pero muchos de estos videos evitan sorpresas cuando hablamos de menús, configuración y ergonomía de nuevos sistemas, que a veces solo conocemos al llegar al set.

Gary Adcok on ARRI Alexa.

Gary Adcock's walkthrough of Arri's New Alexa Camera from gary adcock on Vimeo.

Digital FX on Red Epic.

Hands-on with the Red Epic-M from Digital FX on Vimeo.

Louis Silverstein on SI-2K

SI2K - Tutorial #1: The SI2K Body - GripReality inc from Louis Silverstein on Vimeo.

Andy Shipsides on Sony F3.

Hands-on with the Sony PMW-F3 from AbelCine on Vimeo.

Tom Guilmette on Phantom HD Gold.

The Phantom HD GOLD High Speed Digital Cinema Camera from Tom Guilmette on Vimeo.

Lou Caputo on Canon T2i/550D

Hands-on Review of the Canon Rebel T2i/EOS 550D DSLR from Lou Caputo on Vimeo.

Andy Shipsides on FS-100.

Sony’s New NXCAM Super 35 FS100 from AbelCine on Vimeo.

Phillip Bloom on AF-100 vs FS-100 vs F3. Parte 1.

AF100 vs F3 vs FS100 Part 1: The Real World from Philip Bloom on Vimeo.

Phillip Bloom on AF-100 vs FS-100 vs F3. Parte 2.

AF100 vs F3 vs FS100 Part 2: In depth and conclusions. from Philip Bloom on Vimeo.