Welcome to the 2013 Southland Alternative Lens Test “Wide F%$@*^G Open” Edition. This was a coordinated effort between the following individuals: Will Keir, Phil Holland, Matt Uhry, Matthew Duclos, Jeff Whitehurst, Evin Grant, Ryan Patrick O’Hara, Luke Edwards, Charlie Pickle and myself. I’d like to begin by thanking our Sponsors who not only donated their time, but their facilities, insurance services, and their lens sets:

Lens Sets Tested:

Mission Statement:

The purpose of this shootout was to directly compare lens sets on an identical setup. Our goal was not to “test” the lenses, rather provide you with all the info necessary to evaluate the lenses and decide what works for you. These lenses cover a wide range in affordability and availability. This shootout was never meant to prove which set is better than the other. We hope you will see that any of these lenses could be used to shoot quality material and have been for years. We attempted to get Cooke 5i’s for the test but unfortunately none were available at the time. Some of the lenses have slightly varying focal lengths so understand field of view may appear slightly different (i.e. 24mm vs 25mm, 75mm vs. 85mm). Please also keep in mind the slight differences in exposure since we were working with lenses rated between T 1.3 and T 1.5. No matte box was used to insure there was no vignetting or concealing of flares. All images have not been adjusted or corrected anyway. A white balance adjustment is all that has been made.

We all know these lenses perform well closed down to a T 2.8, so this shootout was designed to push the lenses to their limits wide open. Most of the flaws visible wide open disappear once stopped down (examples will be available for download).

Projection:

The below results were attained using the lens projector at Duclos lenses that is set up in it’s own room, specifically for the purpose of evaluation of optics on an even playing field. The same projector and screen were used for all lenses and the distances were maintained for the equivalent focal lengths (3′ for wide lenses, 6′ for teles). A loupe was used to determine resolution in line pairs per height and width for the Center, Field (middle) and edge of the frame based on a super 35mm motion picture frame. All of the findings below should be interpreted as applying only to the S35mm frame in which the lenses are designed to cover. Numbers are specific to each lens wide open. Lastly, although we did measure the lenses in line pairs this is an observational procedure and rather than deal with the political ramifications of publishing these absolute numbers we’ve decided to present them as they apply to the S35 sensor in the Epic and Scarlet. The data presented below is such that even measurements with a “Fair” grade will, for the most part, resolve the full resolution of the sensor.

Notes:

Where you see notes in the table below represent specific observations, if a field is blank that means that the lens performed average for that metric. If it was either better or worse or particularly apparent it was recorded.

Perspective:

Keep in mind these are purely technical numbers and do not speak to the cinematic look and quality the lenses exhibit in a real world scenario.

Duclos Evaluation PDF (Click to download)

Torture Test:

This shot was designed to push all the lenses to the edge. If you plan on using these lenses wide open you need to view them at their worst. This test will show the differences in Resolution, CA, Contrast, Flare Characteristics, Bokeh, Breathing, Distortion, and Color Rendition. The test was performed both wide open and at T 2.8. For each focal length increase, the camera was moved back to maintain a similar frame for every lens. The test was captured with the Red Epic (5KFF, 320ISO, 23.976fps, 3:1 compression, 3200K) due to the high resolution sensor and ability to change lens mounts in a minute. Shutter speed was used to control exposure. Focus was confirmed for each lens in a 3 step process. First using the built in focus assist function, then by eye off the siemens chart, and finally confirmed on a 1080p on set monitor. All this was performed after the distance was confirmed with a tape measure.

Here is a look at the test in action:

Beauty Test:

This test was designed for the telephoto lenses of each set. We wanted to see how each lens treats a human face both wide open and again at T 2.8. Focus was set to the left eye closest to the camera with the same three step focus confirmation. We have to give a big thank you to Stephanie from Duclos Lenses for being our test subject. Shutter speed was used to control exposure. Shot on the Red Epic (5KFF, 320ISO, 23.976fps, 3:1 compression, 5000K post adjusted).

In action:

Video:

The video comprises both the Torture Test and the Beauty Test. It’s just shy of an hour but make sure to watch the entire thing. Hope the music makes it a little more entertaining for you!

Keep an eye out for the areas highlighted below. This will give you a baseline indication for comparison. View downloads at 100%.

Select Original for 2K video:

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Download 2K video here. (Right-Click, Save As)

Download 4K video here. (Right-Click, Save As)

Comparisons: 

(Wide Open)

Downloads: 

(R3D Grabs and Images)(Click to download)

(Each of these downloads contains R3D grabs, FF5K JPEGS, and projector results for that given set.)

• Zeiss Master Primes
• Zeiss Super Speed MKII
• Zeiss CP.2 SuperSpeed
• Leica Summilux-C
• Leica Noctilux
• Canon K35
• Canon CN-E
• Canon EF 
• Optica Elite
• Luma Tech Illumina
• Rokinon Cine
• Comparison Images

RedcineX Pro Download to view R3D’s.( CLICK) 

Conclusion:

It’s safe to say the torture test is rather harsh for all of the lenses (except Leica Summilux-C and Master Primes) while all perform well on the Beauty Test. Like I said earlier this shootout wasn’t intended to pick a winner, but really to compare and contrast between the sets. As you can see in this example the Leica’s and the Master Primes come out as the most rounded of the lens sets. This test is definitely not definitive and each real world shoot has a specific need or look and varying budget. A set that works for one project may not work for the next. Download the test material which is provided in the links above and have a look for yourself (both R3D grabs and stills are available for each set). Before you make any conclusions I would urge everyone to perform their own tests if possible. Those of us who put this shootout together would like to thank all of you for taking the time to view this and hopefully you get as much out of this as we have.

Additional Leica Look:

Dragon Sensor:

While it’s still early in the testing phases for the Dragon sensor, Red has given us preliminary sensor sizes. From these early numbers the only complete set that covered outside of the FF lenses were the Leica Summilux-C. Yes you read that correctly, the K35 18mm did not cover which was a bit of a surprise. At this point all FF lenses more than cover FF 6K.

*Disclosure:

None of us were paid or guaranteed services or gifts in exchange for performing this test. We have no vested interest in making one set look better than the other. Those with lens sets in the test were not operating the tests for obvious reasons. The RED Epic FF sensor size is slightly larger than the S35 Motion Picture standard so any lens vignetting does not appear or affect the traditional S35 frame size.

http://looklabs.net/

Check out these video’s for an introduction:

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Now you might say, why would you recommend these over the other film look plugins? I can honestly say I have tested all the film stock emulation plugins and software currently available on the market and nothing is as accurate as SpeedLooks. You can quote me!

Here is a before and after with a Red One MX camera:

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Red Epic:

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The great thing about SpeedLooks being LUT’s is that you can infinitely adjust the image once the LUT is applied. Therefore you can get to the base image, apply the camera patch and LUT you desire, then adjust to your hearts desire. Every color choice you make will directly respond to the LUT you use maintaining it’s film characteristics and response to color and contrast. That in itself is amazing! If your a seasoned colorist or not, SpeedLooks is a great start and finish to your footage. I highly recommend Clean3500 as your starting point.

Here are a couple samples of footage I shot and just literally dropped the Clean3500 Fuji LUT on a 2nd node in Resolve without any additional corrections. Obviously I could infinitely adjust and add a million nodes, but look at what you get with just the LUT in one node!

Shot on the Red Scarlet with Zeiss Super Speeds MkIII.

Before:

After:

Before:

After:

Before:

After:

Before:

After:

Before:

After:

Before and after with the 5D Mark II:

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LookLabs continually posts free tutorials and before and after videos on their Vimeo page. Check them out for more visual proof. I highly recommend you consider SpeedLooks for your digital tool kit. Your images will greatly improve with one click of the mouse. There are several packages to choose from, but I highly recommend starting with the 3500 Clean Package which includes the standard Fuji and Kodak LUT’s. Every post house should own this collection!

Sony EX before and after:

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LookLabs also has an option to email them a JPEG to test the looks so you can choose ahead of time what package you want! Can’t beat that!

The price of SpeedLooks may throw you off initially, but there are NO resolution restrictions like other available options. You will not be disappointed.

Previous SpeedLooks reviews/previews:

http://www.toolfarm.com/blog/entry/sneek_peek_speedlooks_products_for_speedgrade_new_in_adobe_cs6

http://blogs.adobe.com/movingcolors/2012/08/02/extending-speedgrade-with-speedlooks/

http://www.studiodaily.com/2012/04/introducing-speedlooks-by-looklabs/

I thought I’d take a minute to give some insight into the startup Bright Tangerine. The company may be new to the game, but the owner/engineer is a long time industry man. Having worked as an Engineer at Arri for years, Andy decided to leave and start his own company. Well I’m here to tell you that not only are these matte boxes Arri quality, but even better. Andy has found a way to update the way we use and think of matte boxes. There are ingenious features like the “click cassettes,” a patent pending way to remove or add filter stages in seconds. There are exclusive features like placing hardware on the top and side flags to reduce weight on the matte box itself when you don’t need them.

The line up of matte boxes also has an extremely wide field of view, not available on any other matte box on the market. Need 4×5.65 filters for one shoot, then 6×6 for the next? Just switch out the expansion ring and your good to go. Want a clip on? Your covered. Swing Away? covered. Lightweight 15mm style? your covered. 19mm studio? that too. Even 15mm studio? yup. There are so many creative and clever updates that you can’t find on any other system. Each matte box is designed for a specific market, and each is convertible to expand functionality without having to buy another matte box. Basically owning multiple matte boxes for various setups is a thing of the past. There’s a whole host of options and additional accessories available as well as many more on the way.

Here’s a pic of my Strummer on a recent shoot. The thing is built like an Arri MB20 with way more features and options. I have been using Arri gear since back when I entered film school 5 years ago and employed it on every pro shoot to today and had yet to find anything comparable, until now. It’s like a chameleon, able to adapt and change to fit into any format for any job yet retain the quality and build of an Arri matte box. I will be happy using it for many years to come.

I ordered the kit with 3 stages, multiple doughnuts and step down rings, top and side flags, accessory rail, hard mattes, and 19mm studio adapter. Each piece and accessory comes in its own cloth pouch with the Bright Tangerine logo to prevent scratching and help keep things organized. It’s little details like this that prove a company cares about their products.

Check out the video review of the Strummer by Curt Pair, one of the distributors listed below.

Here’s a review of the Viv matte box and it’s features.

UPDATE* (5/14/2013)

Bright Tangerine has announced a swing away arm option for the Viv making it a truly versatile matte box. You now have the option of studio swing away style, basic rod mount, or clamp on style. You can have all 3 in 1 now!

*There are currently 4 models available, each customizable and upgradeable. Each has a host of additional parts and accessories with more to come.

1. STRUMMER - 

What are boundaries for? At Bright Tangerine, we believe they are there to be pushed. And we design to push them.

Packing smart ideas into an astonishingly simple matte box, we created Strummer to mark a new era in creative flexibility. Its advanced features will satisfy any cinematographer.

A powerful combination of our patent pending Click Cassette Technology with our Swing Away Slide Core lies at the heart of the system. It makes lens changes simple, while retaining an incredible field of view suitable for just about any lens.

Breaking ranks, Strummer delivers the flexibility you need on set. With just a click of a button you can add/remove individual filter stages in seconds. Or switch to our 6.6” cassette and cover super zooms like the Optimo 24-290mm. Being able to change the number of filter stages allows you to reduce weight and increase field of view, or stack more filters easily.

We know that every job is different. And Strummer’s ingenious design is there to redefine the way you work. Quite simply, it ensures that you have the right tool at the right time, all of the time. On top of that, it saves you money on costly second systems and expensive filter stages. If you get caught out needing more filters than you thought you would – there is no need to change the back. Plus the 6.6” cassette saves you having to buy another matte box for big lenses.

Strummer is comprised of stainless steel, carbon fibre composite and strong yet lightweight hard anodized alloys. This assures reliability even in the most demanding environments. Ready for anything, Strummer has the durability and the versatility to realise every shooting style.

Swing Away Slide Core: The professional standard for fast and easy lens changes. Unlock the slide mechanism, push the matte box forwards and pivot it away from the optical axis.

Quick Release Sunshade: Sometimes flares are good. Undo two screws and remove the carbon sunshade to increase filtered flare or access our interchangeable 5.65 or 6.6 cassettes.

Click Cassette Technology: It’s a kind of magic, really. It’s cool, and saves you money. Three years in the making, our stages connect together in a unique way, allowing more light to pass through and creating an incredible field of view.

You don’t always know your shooting situation. Sometimes you need a two-stage system to cover wide-angle lenses, or you may need more filters to balance the environment. Traditional systems have either a fixed number of stages or require multiple complete filter stage assemblies. We thought it would be a great idea if you could own a three-stage matte box that could easily be turned into a two-stage matte box. By pulling a section out or putting another one in, you can make it three, four, or as many stages as you like. Then we thought it would be even better if you could quickly remove the 5.65” cassette and replace it with a 6.6” cassette, so it can cover industry standard zooms, like the Optimo 24-290. And we did; so you can.

360 Degrees of Rotation: We’ve crammed a lot into this little matte box. In 5.65” mode, all stages fully rotate. In 6.6” mode, with the help of our X-band bracket, the first stage is fixed and everything else rotates.

Filter Trays: Lenses are getting wider and sensors are getting bigger, so we cover them all: In 5.65” mode, you can use 4×4”, 4×5.65”, 5×5”, and 5.65×5.65” filters. In 6.6” mode, you can use 4×5.65” and 6.6×6.6” filters. 6” and 138mm round filters fit right into our donuts.

Self Servicing: It just got easy. Conventional filter stages trap debris. It’s a fact, and it can be quite a job to take them apart. Our cassette system doesn’t have contact plates and doesn’t need lubrication either, so things don’t get clogged up. Thanks to our Click Cassette Technology, with a click of a button and a swipe of a brush – you’re done.

138mm & 6” Industry Standard Donut Ring: You’ll be glad to know we conform to industry standards, so you can use your existing inventory or have a look at our optional accessories and see if we make the diameter you need.

Lightweight Flag System: Sometimes we do things just because we want to. This is one of them: our top and side flags are constructed from carbon fibre panels with adjustable side wings for maximum flare control. These sit on beautifully designed alloy articulated carriers. Incredibly light, unbelievably strong, and they look gorgeous. We think it was worth the effort.

French Flag Bracket with 3/8” Threaded Holes: We did it again. A great way for clamping your own French flag and attaching cine tapes or monitors to face the action.

A Set of Five Hard Mattes: Full contact fitting so they won’t fall off, and we painted them matte black so they are invisible in reflections. Available as set of 16mm, 25mm, 32mm, 40mm and 50mm.

Mounting Options: We’ve got you covered. Choose from our 15mm lightweight system or fit the 19mm or 15mm studio brackets when you’re on the run. For larger diameter lenses, opt for the dedicated 19mm or 15mm studio arms.

2. VIV - 

Creating a new standard in compact lightweight matte boxes, Viv is engineered to achieve an incredibly high strength to weight ratio. It sports our patent pending Stack Cassette Technology and features our newly developed patent pending light shield system. Viv packs an incredible field of view into a surprisingly portable body.

Built on a solid carbon fibre core and using sophisticated hard anodised alloys, Viv is tough enough to travel anywhere. Deep within is the intuitive Stack Cassette Technology unleashing an astonishing field of view, self servicing, and fast switching from 2-stage to 3-stage in under 60 seconds.

Our new light shield system is unbelievably light. It’s also strong enough to endure the most difficult environments, thanks to an optimised balance between carbon fibre composite and our patent pending axle design.

Viv supports up to three 4×5.65” filters. The first stage is fixed; additional stages have 360 degrees of full rotation. Equipped with a 150mm clamp-on as standard, there is an optional 15mm lightweight bracket. Strummer’s 19mm and 15mm studio brackets can be attached to the lightweight bracket, making it versatile enough to work with any system.

You might have had a chance to see one at NAB, but if not I’m pleased to announce they are finally available for sale. Here is the current list of distributors to contact for more info and pricing. Each kit can be custom ordered to your specific needs.

Patent Pending Stack Cassette Technology: 3-stage to 2-stage and back again. We loved designing this feature. If you own a 3-stage system you can turn into a 2-stage system and vice versa (with an extra part), and it takes less than 60 seconds. It’s so simple anyone can do it.

Clamp-On and Rod Mounts: Viv can be clamped on 150mm dia. lenses directly and on smaller lenses with adapter rings. If you want to use bars, you can do that to. Attach the optional 15mm lightweight bracket and you are set. Use Strummers 19mm or 15mm studio brackets and 138mm rubber donut with step down ring. Wherever possible, we try our best to make sure you can use the stuff you already own. It just makes sense.

360 Degrees of Rotation: Despite being light and compact, we still have rotating filter stages. The first stage is fixed; the second and third stages rotate through 360 degrees.

Quick Release Flag System: Ditch the weight, not the strength. Our carbon fibre blades are fixed to small, incredibly light, alloy axles that stay with the flag and not the matte box. Remove the flag, remove the weight. And if that wasn’t enough you can use them on Misfit! Simply brilliant.

French Flag Support: We only needed to make one, so we made two. For heavier stuff we make a stunning French flag bracket, cut from a solid alloy block with five 3/8” holes. Specially designed for the Cinetape and all things light, we have a patent pending Glide Rail. A feather light bar with a floating 3/8” hole. Something blocking the action? Twist, slide and lock it wherever you want. Fit, adjust and remove in seconds.

Self Servicing: It just got easy. Conventional filter stages trap debris. It can be quite a pain to take them apart. Our Stack Cassette Technology doesn’t have contact plates or need lubrication so things don’t get clogged up. Remove four screws and you can easily brush away any dirt.

3. MISFIT - 

A familiar favourite just got lighter and tougher with all round light shielding. When size and weight matter, Misfit performs flawlessly.

Built upon a solid carbon fibre core using sophisticated alloys, Misfit leads the way in ingenious light control. At the centre is our patent pending Reveal Technology. Switch from 2-stage to 3-stage in less than 60 seconds. Securely hold up to three 4×5.65” filters and connect directly to your lens with the included 114mm carbon fibre clamp-on ring. You can also swop over to smaller diameters with an adapter. Need larger than 114mm? We’re working on it.

Our new light shield system is unbelievably light. It’s also strong enough to endure the most difficult environments, thanks to an optimised balance between carbon fibre composite and our patent pending axle design.

Reveal: It’s clever stuff. We really like making things better and Reveal does just that. Our patent pending Reveal Cassette System is inside every Misfit and Blacklight. It enables your matte box to change from 2-stage to 3-stage in literally seconds. Loosen four screws and pull out to reveal the third stage. It’s that simple.

Clamp-on: Clamp on, also called clip on, it’s the same thing really. Misfit currently supports lenses up to 114mm in diameter, and smaller diameters with step down adapters. We are about to announce different size dedicated backs for those who don’t like adaptors, and larger diameter backs for lenses like the FujinonAlura.

Quick Release Flag System: Ditch the weight, not the strength. Our carbon fibre blades are fixed to small, incredibly light, alloy axles that stay with the flag and not the matte box. Remove the flag, remove the weight. And if that wasn’t enough you can use them on Viv! Simply brilliant.

French Flag Support: Specially designed for the Cinetape and all things light, we have a patent pending Glide Rail. A feather light bar with a floating 3/8” hole. Something blocking the action? Twist, slide and lock it wherever you want. Fit, adjust and remove in seconds.

4. BLACKLIGHT - 

Introducing reveal, just one bright idea igniting Blacklight.

Effective light control for large diameter zooms and ultra wide primes, just got easier. Blacklight is built on a solid carbon fibre core using sophisticated hard anodised alloys. At the centre is our patent pending Reveal Technology. Switch from 2-stage to 3-stage in less than 60 seconds. Securely hold up to three 6.6” filters and connect directly to an Optimo 24-290mm zoom with the included 162mm carbon fibre clamp-on ring. You can also swop over to smaller diameters with an adapter. Blacklight leads the way in ingenious light control.

Our new light shield system is unbelievably light. It’s also strong enough to endure the most difficult environments, thanks to an optimised balance between carbon fibre composite and our patent pending axle design.

Reveal: It’s clever stuff. We really like making things better and Reveal does just that. Our patent pending Reveal Cassette System is inside every Misfit and Blacklight. It enables your matte box to change from 2-stage to 3-stage in literally seconds. Loosen four screws and pull out to reveal the third stage. It’s that simple.

Clamp on: Clamp on, also called clip on, it’s the same thing really. Blacklight supports lenses up to 162mm in diameter and smaller diameters with step down adapters. Designed for zooms and wide angle primes with large front elements, Blacklight fits directly on to the Optimo 24-290mm. So you don’t need to buy a third party back. We’ve even made a 162mm-156mm adapter so you can use your existing inventory.

Quick Release Flag System: Ditch the weight, not the strength. Our carbon fibre blades are fixed to small, incredibly light, alloy axles that stay with the flag and not the matte box. Remove the flag, remove the weight.

French Flag Support: Specially designed for the Cinetape and all things light, we have a patent pending Glide Rail. A feather light bar with a floating 3/8” hole. Something blocking the action? Twist, slide and lock it wherever you want. Fit, adjust and remove in seconds.

You might have seen this matte box at NAB 2012 or Cinegear 2012, but if not they are now available for sale at the distributors listed below. Please contact your nearest rep for more info and pricing. Go down and get a hands on demo and I guarantee you will walk away with one. New distributors will be added when info becomes available.

DISCLAIMER:

*As a full disclosure, I have no business interest in the company and am not paid to promote or sell any products from Bright Tangerine. I am strictly a pleased customer who wants to spread the word.*

If your in a hurry, give Curt a call at:

Picture this productions inc  

+1 602-494-2808

curt@picturethisproductions.net

He’s extremely fast to respond to inquiries and the quickest to get you a matte box.

DISTRIBUTORS LIST:

 *Make sure to compare pricing as several distributors are charging over MSRP while some are charging only the MSRP.

Sydney – Australia

Lemac Sydney Office

14-16 Punch Street,Artarmon, Sydney NSW – 2064Lemac Sydney office

+61 2 9438 4488

dgruenpeter@lemac.com.au

Sydney – Australia

Red Apple Camera Rentals Pty Ltd

24 Carlotta Street,Artarmon, Sydney NSW – 2064

+61 2 9437 4643

ali@redapplecamerarentals.com

Munich – Germany

Gecko-Cam GmbH

Brunhamstrasse 21 Geb. 221, Munich Munich – D-81249

+49 89 4521 8100

Karin@Gecko-Cam.com

Phoenix – United States

Picture this productions inc

17812 North 53rd Drive,Glendale, phoenix 3617 – 85308

+1 602-494-2808

jenc@picturethisproductions.net

Cape Town – South Africa

Moviemart Cape town office

Cape Town Film Studios (Pty) Ltd, Film City Boulevard,Corner of N2 Highway & Baden Powell Drive,Faure , Cape Town SA – 7131

+27 21 843 2666

jared@moviemart.co.za

Johannesburg – South Africa

Moviemart Johannesburg office

17 Eastern Service Road, Old Pretoria Road, Eastgate Extension 8, Sandton, Johannesburg SA – 2148

+27 82 552 6562

petros@moviemart.co.za

BRIGHT TANGERINE

info@brighttangerine.com

Here is the code to enter at checkout: DaVinci50  (*50% off limited time only)

Here is an overview of the lesson:

Honestly you can’t beat the price. This will help get you up and running immediately. Resolve can be daunting for the first time user and the new interface confusing for those upgrading from the traditional version 8. This is a great way to get up to speed without spending a fortune. New tutorials to follow in the future.

From cmiVFX:

While your at cmiVFX make sure to check out the plethora of tutorials for other programs and apps.

**UPDATE (8/4/2012)- cmiVFX has just released a free tutorial titled: DaVinci Resolve 3D Dailies Setup Featuring GoPro

cmiVFX will continually drop free mini training tutorials so get their Resolve 9 intro tutorial to get started immediately!

http://www.cmivfx.com/tutorials/view/487/DaVinci+Resolve+3D+Dailies+Setup+Featuring+GoPro

If your looking to build a site or just need one designed he’s your man. I gave him an idea on what I wanted it to look like and the styling and the rest is history. My site was created in just under a week, and he even included personalized tutorials on how to run and continually update my site. The process was hassle free, simple, and gratifying to know I was getting the site I was looking for.

After receiving nearly 75 quotes for designing and building a site and after checking each of their portfolio’s I chose Justin, and I couldn’t be more pleased.

If your looking to build a site or update an existing site shoot him a message.

Justin Snyder

info@justinthedesigner.com

justinthedesigner.com

Cinegrain: $499-$3,000 (100-400 clips up to 4K resolution)

CrumblePop Grain35: $199-$299 (1080p & 4K)

Gorillagrain: $99 (21 Clips – 1080P)

Filmconvert: $495

Red has also released a new film look tab in RedcineX Pro that drops 35mm film grain over your footage which can be rendered out along with the video. So there are several options to get that film grain you all love so much.

UPDATE: (3/2/2012)

RGrain: $60 (7 clips – 1080P)

Now it’s your turn to decide which one fits the needs of your project best. All are good options, but some are higher resolution than others. Prices listed are for packages of 35mm, 16mm, and 8mm stocks.

“This is the best looking footage I have ever shot, These are the best images I have ever seen!”
– John Schwartzman ASC, Director of Photography
The Amazing Spider Man

WHY SHOOT RED?

Well, quite simply, the images are stunning.

RED shoots 5K progressive images (5120×2700). For many, 4K resolution has been the benchmark for comparison to 35mm film resolution. You get the quality of shooting 35mm but at a fraction of the cost: No stock costs, no processing, no one-light telecine.

Traditional HD cameras only offer 2.1 mega pixels or less. RED is 14 mega pixels. This resolution is seven times more resolution than HDCAM (1920×1080). This gives you resolution to burn, making it a great choice for many post intensive effects like green screen composites, resizing, creating source original stills as well as outputting to film or event projection. With RED you can take advantage of the world’s best optics too either using its PL lens mount or a specialist Nikon or Canon adaptor.

RED’s workflow is tapeless and streamlined. RED uses fixed media cards and drives for recording and can be edited using Final Cut Pro. RED’s raw footage is a “non-destructive” RAW image similar to a film negative and offers more colour correction flexibility than any HD format on the market. It is similar to working with a RAW file from a digital SLR camera. This footage can then be edited and output to any format– to a film print or down-sampled to 1080p, 720p to standard definition. Whatever format you pick for output your images will have all the attributes of a 35mm image and the immediacy and convenience of a pure digital image.

RED’s image sensor known as the “Mysterium X” is the size of a Super 35 gate in a film camera. This larger image target is what gives the 35mm film format its wonderful depth of field and selective focus, and the RED has this same size cinematic depth of field. No HDCAM video camera is able to achieve this without adaptors and image converters that are an added expense, inconvenient and sacrifice your image quality.

What have famous film-makers been saying about the RED camera?

 It looks like film. However, if you finish and screen at 4K, the result is like shooting in 65mm, like the old epics used to do. It’s pretty exciting, and will have a major impact on indie filming – but we could see no reason why you couldn’t use these cameras for any type of movie. I’m seriously considering using RED for The Lovely Bones. 

Peter Jackson, Director, Lord Of The Rings, King Kong

I have had the opportunity to test the RED ONE camera over the past few weeks, including a direct comparison to the same film I shoot on 24. All I can say is that I am totally amazed. Revolutionary might not be a strong enough word to describe what RED is doing.

Rodney Charters, Cinematographer, 24

We’re shooting RED side by side film. We scanned the film 4k and took both into the Baselight, compared them and then did a filmout of both. When we screened side by side, we literally could not tell the difference. In fact, most people picked the RED ONE footage as film because of a greater dynamic range in the highlights than in the 5218 [a low grain, high sensitivity Kodak film stock]. It’s not enough to say it is the best digital image out there. The fact is, finally, we can intercut digital with film. It looked remarkably better than the filmed images. I thought I would never be able to say that. 

Jon Farhat, VFX Supervisor, Wanted

What is 5K?

5K refers to the size of the sensor in the RED Epic camera – it measures 5120 by 2700 pixels (i.e. approximately 5000 pixels from left to right, or 5K ). By way of comparison the sensor in, say, a Sony F900 (HDCAM High Definition video) measures 1920 x 1080 pixels. With a sensor this size the image detail and colour depth are greatly increased. The stunning images produced by a RED Epic/Scarlet/RED ONE MX can only be fully appreciated when seen projected at at least 2K (2048 by 1152 pixels), ideally on a digital projector.

Format comparison:

What format does the RED Camera record in?

A new codec called Redcode RAW developed by post-production wizard Graeme Nattress. The format uses wavelet compression which provides a much cleaner, clearer image than MPEG 2, for example (the codec used to compress DVD images). RED are calling it “visually lossless” – they claim tests have shown it is impossible to distinguish between compressed and uncompressed footage. 128 gigabytes of SSD space will store approximately 60 minutes of 5K Redcode Raw footage.

What is RAW?

RAW is not video and it is not film. RAW is the unprocessed and actual information that is captured by the image sensor. There is no format conversion that “bakes in” a look that cannot be easily changed. HDCAM or DVCPRO both force your footage into their colour space. Think of RAW as a negative that has yet to be put through telecine. Much of the RAW look can be created in post by a cinematographer and a professional colourist. RED calls this raw format REDCODE and RED records this in 16 bit raw files. The raw data RED records is created with a codec that is visually “lossless”. Therefore while colour grading in post, it is possible to adjust exposure, white balance, gain/ASA and more without the loss of the original unprocessed data. Still photographers have been working with RAW files for years and RED works in a very similar fashion. It gives an unprecedented amount of flexibility not seen before in digital motion picture cameras.

Why do I need 5K when I’m delivering to television?

Even if you intend delivering for television – whether it’s High Definition or Standard Definition – shooting 5K has the following benefits:

• Oversampling: The more detail you start with, the better the finished image. You get a crisper, richer picture when the image is resized downwards. 35mm film looks better on a TV screen than 16mm – even when they are both displayed at standard TV resolution (720 x 576 pixels).
• Room to move: additional resolution means you can zoom in, stabilize and reframe with no discernible loss of quality.
• Future Proof: have the highest quality original footage to preserve the longevity of your work. You can enter a film festival on HDCAM… and deliver a 4K to 35mm print when the Sales Agent pays for it.
• The perfect key: The higher detail also makes it the best choice for green screen compositing.

THE CAMERA

How sensitive is the RED Epic sensor?

The RED Epic has been rated at 800 ASA (measurements of film sensitivity). This is good enough to shoot in most all interior situations with a very minimal lighting set up. Relative to other digital cameras the RED Epic has a very low signal to noise ratio (66 decibels). In practice this means the camera can be easily “pushed” to rate at around 1600 ASA with very little noise visible in the shadows. You should have no problems shooting in candlelight, for example. The Red Epic has an improved dynamic range of 13.5 stops and up to 18 stops with HDRx.

What frame rates can I shoot?

12 and 16-bit RAW : Compression choices of 18:1 to 3:1
1-120 fps 5K, 4.5K
1-150 fps 4K
1-200 fps 3K
1-300 fps 2K

What lenses can I use on the RED camera?

RED comes with a PL, “positive lock”, lens mount. This is the same lens mount used on motion picture film cameras used in big budget feature films. This mount allows for the use of the world’s best optics and lens systems. Lens like Cooke S4, Zeiss Master Primes, Zeiss Super Speeds, Optimo zooms and more can be used, as well as snorkel lenses, macro lenses, swing shift lens and more. Anything with a PL mount can be used. If you like the look of old optics like Baltars you can use them. An important note though is that not all PL mount lenses will cover the image area of the sensor when shooting Super 35 or 5K. Though they can be used, some older 35mm lenses only cover what is known as Normal 35. 16mm lenses will only cover the image area used when shooting 2K. In addition to the PL mount the camera can be adapted to a Nikon, Canon or B4 mount for use of still or HDCAM style lenses.

 Does the Epic/Scarlet have AutoFocus?

YES, with the TI Canon Mount and the soon to be released Nikon Mount.

Does the RED Epic record synch sound?

Yes. The RED Epic records four uncompressed channels of CD quality audio, synched to picture. It also supports common timecode formats for synching with external recorders such as DAT.

Is the Camera modular/update-able?

The answer is a big YES! One of the major benefits of the new Epic/Scarlet camera’s is the ability to update the sensor technology without having to purchase an entirely new camera model. If you were to purchase a camera from any other company when a significant update comes out you must purchase the new model which can sometimes come months after you purchase the so called “new model.” (Such was the case with the Canon c300 and 2 months later the new c500). With RED their moto is “obsolescence obsolete.” The next sensor to be released by RED is the new 6K Dragon sensor with 15+ stops of Dynamic Range and frame rates up to 85fps in full 6K. For this upgrade the cost is $6,000 including installation by RED. So once you have purchased the camera all you will need to invest in is future upgrades if you plan on keeping up to date. This eliminates the waste of purchasing a new camera for every update.

RED is also always realeasing new color science tweaks as free upgrades as well as adding newer better features via firmware free of charge. Being that you shoot RAW these new updates can be applied to all your footage ever shot with a RED RAW camera. You could literally pull out footage shot on the RED ONE 5 years ago and apply the new color settings and see new life breathed into your work. That’s another great benefit of RAW.

SHOOT

Is it possible to review and playback footage on-set?

Shots can be reviewed instantly from the in camera SSD Drive. While viewing you are seeing a 1080P out at REC709 colour space. (Not RED Code 5K.) The footage also can be downloaded  to a MacBook Pro where it can be viewed using RedCine or Final Cut Pro with the Red generated Quicktime reference movies.

RED RAW R3D Processing/ Transcoding

For simplicity of workflow, Premiere Pro incorporates intake of RAW R3D files natively with complete control of the RAW metadata. Create a new project, import your RAW R3D files, and begin editing. No transcoding is needed.

If you want to process dailies for on set viewing or for offline editing, a fcp edit, or avid, RedcineX Pro is RED’s free RAW processing application. In Redcine you have control over every bit of sensor information. You can do a basic color correction, change ISO values, adjust contrast, then export the footage in any necessary format in pretty much any resolution imaginable. Any system can work with these files as they are a compressed version of the original R3D’s. Once you complete your edit you can create an XML and bring that into any color correction program to relink to the original R3D files so you can color with the full RAW capabilities. This is a great and simple workflow that won’t put strain on your computer for editing. Here is a look at RedcineX Pro and its controls:

Straight from the camera and opened in RedcineX Pro (RED’s free app):

With a few tweaks in RedcineX Pro to give the image the “look” I am going for:

The Controls:

Crop Controls:

Export formats: Each format has multiple compression settings, resolutions, and quality.

Full screen view:

Clip info:

You can even create a look in RedcineX Pro, export it to your Epic/Scarlet, so your able to view the look in camera and on set. This won’t effect your image since you are shooting RAW and any “look” can be reset:

Remember that one of the greatest benefits to shooting RED is that it is a RAW format. Any changes to settings  in camera while shooting or in post can be reset, and tweaked as many times as you want. There are no more baked in looks. You can go back to footage you shot a year ago and reset the look and recolor to your liking. The possibilities are endless. Give it a try for yourself and I guarantee you won’t ever want to shoot with a baked in format again.

I hope this gives you a better understanding of RED and it’s RAW workflow. If there’s any specific questions you have feel free to leave a comment and I will address those questions.

RED

Epic Tech Specs:

**All info and photo’s are property of the original owners. Information has been collected from various references such as RED.com, Reduser, and various Reduser members. This post is for information purposes only and all content is property of its respective owner.

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You can find the original chart here.