Ship date of RED???

A

A51Films

Carbonite Member
I'm planning to shoot a feature First Quarter 2007 (Hopefully with RED, if not Viper), so I'd like to know when we can expect to get word on the actual ship date of RED. Would it be sometime next month or....?
 
If you have a reservation already in, you should get yours sometime between April and June. If you don't have a reservation yet, the earliest you could think about getting one would be maybe July. But this is all tentative and subject to change as the schedule progresses.
 
A51Films said:
I'm planning to shoot a feature First Quarter 2007 (Hopefully with RED, if not Viper), so I'd like to know when we can expect to get word on the actual ship date of RED. Would it be sometime next month or....?
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If you've got a feature planned for 1Q07, then you may want to plan on shooting on something else OR push your schedule back a bit.
 
Blaine said:
If you've got a feature planned for 1Q07, then you may want to plan on shooting on something else OR push your schedule back a bit.
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Yeah, It's the Viper then; I can't push it back that far. The Genesis doesn't have a high enough frame rate, and then the D-20 doesn't seem to have it all there as far as De-bayering software (I'm sure I could get it from somewhere else but...).
 
Oh wow, yeah the Alta does give a better image. How's the 950 in comparision to the 900? My only problem is variable frame rates..... I need as low as 4fps and as much as 60fps. I wrote the script within the limits of the Varicam, but I'd like to shoot 1080p; that just limits me framerate-wise.
 
I would definitely say that the Viper image is preferable.
Look at the sharpening halos on the 900 image, especially visible in the +2 stops and up. Without that excessive sharpening it would be closer to the Viper resolution wise.

Also the "shoulder" of the Viper is much closer to the film samples and (though there is a color shift) it holds a lot more highlight detail than the Sony. Look at those patches at the bottom, the 900 clips all the greyscale squares, except the black one. It doesn't say how they rated the two cameras speed wise though...
 
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Now that I look again, yeah the Viper does give better images in some of them. I just like the way the colors "pop" in the normal sample of the F900 compared to the Viper, it's mostly just the Yellow, the green does have that weird outline ("halo", I guess you could say.). Now, my problem with the Viper is the Film Stream deal. I hate the idea of that green tint..... Why couldn't there be the option of White Balance in Film Stream..... it wouldn't even be automatically on; just on or off, and then if it's on you set it. If it's off then nothing happens. What about the thought of Magenta Filters to Optically White Balance? Does that work? Will the images be to screwed to do anything with in post? I have thought about RGB Mode but I hate the thought of being tied to a tape deck, that goes for an additional 1500 a day. What do you think?
 
You can actually color balance it optically.
Use a CC60M and a CC81B for 5600k response, and you loose 2.2 stops.

If you normally rate the camera at 320 ASA, then its down to about 80 ASA with filtering in place.

For Zodiac they used a CC30M filter for partial correction and more sensitivity.
 
Anders Holck said:
I would definitely say that the Viper image is preferable.
Look at the sharpening halos on the 900 image, especially visible in the +2 stops and up. Without that excessive sharpening it would be closer to the Viper resolution wise.

Also the "shoulder" of the Viper is much closer to the film samples and (though there is a color shift) it holds a lot more highlight detail than the Sony. Look at those patches at the bottom, the 900 clips all the greyscale squares, except the black one. It doesn't say how they rated the two cameras speed wise though...
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These tests aren't fair with the F900. This was the best camera I ever shot. Sharpness when we need and otherwise featuring the same latitude and color control (among others) shown by Viper in this comparision. Go with F900 if you don't mind handling with those hassles coming from a proprietary tape format like it is the HDCAM and you won't regret later.
 
Could I take the F950 to a hard drive or doesn't that workflow exist for the Altas? And what's the color space of the 900? I know the 950 is 4:4:4, but is the 900 4:2:2 ?
 
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The 900 is 4:2:2 HD Cam if you're recording to internal tape. The 950 is only a camera, not a camcorder. You can record it to an HD Cam SR deck at 4:4:4 color sampling. It's not a cheap route though and you'll always be tethered. I would agree with haakon as far as choosing the viper filmstream. The green color shift is a better trade off than less latitude and an oversharpened image. Plus the venom flashpack can be mounted on the camera and you'll be tether free. You can color correct in post if you don't want the light loss from a magenta filter. I didn't know it was 2.2 stops. Yikes!
 
sony told me HDcam was 8bit ..3:1:1 ... 1440x1080 to tape
& HDcam SR 10bit 1920x1080 & could go either 4:4:4 or 4:2:2 to tape...
 
Dalsa Origin

Dalsa Origin

Ya know what, how about the Dalsa Origin; Has anyone used or seen material from the Origin? How's it look? Anyone know what kind of images the RAW material actually is? It doesn't have the green tint like Viper does it? From what it looks like it's just a little dark on the RAW video.

It'll either be Origin or CineAlta if I can find a 180mm lens for the Alta, As of right now (looking at zeiss DigiPrimes) it cuts off at 75mm.
 
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donatello said:
sony told me HDcam was 8bit ..3:1:1 ... 1440x1080 to tape
& HDcam SR 10bit 1920x1080 & could go either 4:4:4 or 4:2:2 to tape...
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Hello donatello,

that is correct, if one uses the integrated recorder.
However, if you use the hdcam 750/900R camera via hd-sdi, you get 4:2:2@10 bit.
The tape is the limiting factor - and sony, for obvious reasons, is a little bit biased about 4:2:2@10bit discrecorders. SR is great, but it still is datareduced. the -optimal- workflow is 4:4:4->disc uncompressed, but in situations, where cabling is a no-go, HDCAM SR is a good solution.

BTW: We often shoot a mix between HDCAM & uncompressed 4:2:2. Especially for pulling keys and -really low- light it is recommendable to avoid datareduction if possible. for the keys the precision is higher, for low light colorgrading is less painful (as chroma noise isnt datareduced).
 
A51Films said:
Ya know what, how about the Dalsa Origin; Has anyone used or seen material from the Origin? How's it look? Anyone know what kind of images the RAW material actually is? It doesn't have the green tint like Viper does it? From what it looks like it's just a little dark on the RAW video.

It'll either be Origin or CineAlta if I can find a 180mm lens for the Alta, As of right now (looking at zeiss DigiPrimes) it cuts off at 75mm.
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Dear A51Film,

Feel free to contact me at Dalsa Digital Cinema, I can answer all of your questions.

www.dalsa.com/dc

I.
 
Anders Holck said:
I would definitely say that the Viper image is preferable.
Look at the sharpening halos on the 900 image, especially visible in the +2 stops and up. Without that excessive sharpening it would be closer to the Viper resolution wise.

Also the "shoulder" of the Viper is much closer to the film samples and (though there is a color shift) it holds a lot more highlight detail than the Sony. Look at those patches at the bottom, the 900 clips all the greyscale squares, except the black one. It doesn't say how they rated the two cameras speed wise though...
Click to expand...

Hi,

I have been using the Viper recently and am very pleased with the pictures, recording filmstream to HDCAM SR @ double speed. What I like is there is no settings other than shutter angle & exposure to play with.

Stephen
 
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