Clermond
Veteran
I posted this back on page 20 or so, can anyone tell if it was shot on a stills camera or video camera?
it's typical film/ video light
An experienced still photographer would have used a different set up
;-)
FS7: Red Raven and FS7
- Thread starter Gene Sung
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it's typical film/ video light
An experienced still photographer would have used a different set up
;-)
niki
Active member
NorBro
Major Contributor
I posted this back on page 20 or so, can anyone tell if it was shot on a stills camera or video camera?
Nice image, but too much over-exposure (maybe that was the point), but there are some really nice grabs from RED's site..
Yes, this was a great sequence visually. But do watch some Surtees and Hall too.
Did you see that courthouse sequence? It was just absurdly over the top.
BTW, one of the OTA digital channels has been running and rerunning the "Assassination of Jesse James" for the last few months, so I had to have seen the various excerpts way more than I would have otherwise, had it not been a Deakins film. And I stick to my point - it's not a movie with a consistent style. Some shots are classic "old Hollywood"; others could have come from the "Spinal Tap" (which I have also recently watched over one of those free digital OTA channels).
Ben Scott
Veteran
Surely the whole point is that this scene is over the top and stylised for the iconic reveal of Rooster Cogburn - who prior to this moment everyone knew as John Wayne. That was a typical Coens joke and nod of the (10 Gallon) hat.
For reference
Jesse James is one of the most highly regarded examples of a cinematographer at work in the last couple of decades. It won about 8 awards for its cinematography and was Oscar nominated for it, and nominated by the ASC for Outstanding Achievement in Cinematography in Theatrical Releases. I completely get that it may not be to your tastes, but the look of that film has been hugely influential and there were some incredibly brave choices made by Deakins and the team in it.
For reference
Jesse James is one of the most highly regarded examples of a cinematographer at work in the last couple of decades. It won about 8 awards for its cinematography and was Oscar nominated for it, and nominated by the ASC for Outstanding Achievement in Cinematography in Theatrical Releases. I completely get that it may not be to your tastes, but the look of that film has been hugely influential and there were some incredibly brave choices made by Deakins and the team in it.
Yeah, Red for stills is really weird. Spend $29.5K on a body that weighs 2x as much as a DSLR, a fraction of the resolution, weird handheld ergonomics and where do you put the neck strap, LOL?
I had no idea that DSMC stood for Digital Stills.
Ben Scott
Veteran
I sort of get it. have 100+ raw stills per second of some high speed event is great.
But in the real world I think it's not best suited to that task even though it's done the front covers of vogue and vanity fare etc. It was part of the original dream for the v1 DSMC cameras but the implementation was only ever half arsed and to my mind is best left forgotten.
That said, you can pull amazing raw stills from a sequence for promo or publicity which is very handy.
However, if they wanna give me a weapon to shoot some stills on I guess I'd be preapred to take it off their hands
But in the real world I think it's not best suited to that task even though it's done the front covers of vogue and vanity fare etc. It was part of the original dream for the v1 DSMC cameras but the implementation was only ever half arsed and to my mind is best left forgotten.
That said, you can pull amazing raw stills from a sequence for promo or publicity which is very handy.
However, if they wanna give me a weapon to shoot some stills on I guess I'd be preapred to take it off their hands
Surf it Mike
Well-known member
I find "AOJJ" entirely unified in look and composition and as Ben stated it is hugely influential film.
DLD you most probably need to watch not as sequence of promos but as coherent & linear story.
DLD you most probably need to watch not as sequence of promos but as coherent & linear story.
It wasn't the promos, but the actual film. It's just that I have seen it before and I usually find it when flipping the channels during some football or soccer game. I watch sometimes for 2-3, sometimes for 3-5 minutes, sometimes, if the game/match is boring, I'll watch 15-20 minutes or more.
Everyone is stoked about the train sequence but there's the rest of the film too. As to awards, I remember Jerry Seinfeld winning the SAG as the "best actor in a comedy series" and the guy couldn't act his way out of the paper bag.
And if the entire "Jesse James" was shot like this, then yeah.... but it wasn't.
And that window in the courthouse in "True Grit" looks far too silly once you watch the whole scene, as the camera moves laterally and away from that 10K HMI blasting through.
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I sort of get it. have 100+ raw stills per second of some high speed event is great.
But in the real world I think it's not best suited to that task even though it's done the front covers of vogue and vanity fare etc. It was part of the original dream for the v1 DSMC cameras but the implementation was only ever half arsed and to my mind is best left forgotten.
That said, you can pull amazing raw stills from a sequence for promo or publicity which is very handy.
However, if they wanna give me a weapon to shoot some stills on I guess I'd be preapred to take it off their hands
Having explored the crossover world of fashion photography (20 years here in Paris) before coming into film, I do not wish on any of you the editing nightmare that is pulling stills from a film/RED shoot. I have done it several times. One day of shooting, four days of editing and 250,000 images later...impossible to make a choice. So to all who wish to attempt it, I say....
Good luck with that.
Surf it Mike
Well-known member
Can't see the reason to shot Red stills ...unless you are shooting action then need to extract stills from it . But still not a great choice optically ......motion another matter entirely.
NorBro
Major Contributor
Would you buy a brand new Scarlet Dragon if you didn't own any accessories?
You could use the DSMC2 stuff on it, right?
Ben Scott
Veteran
You can't use DSMC2 accessories on the existing Scarlet Dragon which has an upgraded sensor but is still DSMC1 form factor. So if you can get a used Scarlet Dragon ready to shoot kit for cheap then it might be a good deal, but not if it was with a view to upgrading the brain at a later date.
Raven is the same DSMC2 factor as the Red Weapon and the - to be announced at NAB - Scarlet Weapon and so will be a good way to get into that ecosystem and then swap out the brain (either by upgrading or renting) as and when you need to.
Raven is the same DSMC2 factor as the Red Weapon and the - to be announced at NAB - Scarlet Weapon and so will be a good way to get into that ecosystem and then swap out the brain (either by upgrading or renting) as and when you need to.
NorBro
Major Contributor
Why does it say the new DSMC2 4.7" touch monitor is compatible with Scarlet Dragon?
http://www.red.com/store/products/dsmc2-red-touch-47inch-lcd
http://www.red.com/store/products/dsmc2-red-touch-47inch-lcd
Ben Scott
Veteran
With an additional adaptor you can use the 4.7" touch on Dsmc1 but you cannot use any of the modules/expanders and Dsmc2 is minimag only so if you SD uses full size Redmags they aren't compatible either. Top plates, sideplates, side handles... None of these work on the other form factor.
starcentral
Veteran
I'm supposing the newer RED scarlet is going to have interchangeable mount, and then likely just higher frame rate capabilities?
Is RED still "cropping" to get higher frame rates, or what's some of the highest frame rates they can do without cropping significantly?
Is RED still "cropping" to get higher frame rates, or what's some of the highest frame rates they can do without cropping significantly?