Why you should buy the blade

S

scenedirector

Well-known member
Hey everyone! I finally feel part of the club!

Got my Blade a little over 2 weeks ago and I'm just LOVING it!
My set up is the SGBlade with non-flip tube with Rotorazor 2 installed. I use the Canon A1 and an AWESOME set of Nikons (24mm f/2.0, 28mm f/1.4, 35mm f/1.4, 50mm f/1.4, 60mm f/2.8 MACRO, 85mm f/1.4, 105mm f/2.0, 17-35mm f/2.8, 28-70mm f/2.8, 80-200mm f/2.8)
Had a gig out in Colorado with the set up. MAN is this thing AMAZING.
I've been looking at getting into 35mm d.o.f. for a while now, and been watching the 3 main leaders in what they were coming out with (Redrock, Letus, and Shoot35).
As for image, NOTHING beats the Blade (with rotorazor2 IMO). It has a very organic bokeh, and edge to edge is TACK ON. The others just looked like "hey, look, this is an HD prosumer camera with an adapter on it. I just don't get that feeling with the Blade. This is all opinion and perception, yes, but it looks blatant to me.

If I was critiquing the image ALONE, that would be what would get someone to buy. BUT THAT'S NOT IT. The build quality of the unit is ROCK SOLID. You can tell the guys at Shoot35 made it top priority that they made a solid unit. The secret to success in business, is not to put out flimsy, "shoddy" products so that a customer keeps buying it, treating it as a consumable. It's to put out a product that will last, and customer loyalty will be in place. Look at Toyota, or Honda. They are a great example. They make cars that last. No, you won't get the customer in every 3-5 years, more like 7-10 years to buy a new one, but that loyalty is in place. That's why I have a Toyota, and that's all I'll shop for.
Sorry about the tangent, but it's a good example.
Also, the motor is EXTREMELY quiet for how fast it spins the GG. So no worries there, even at full throttle.
So, the craftmanship is in place.

Image is kick-ass, the build quality is there. Is that it? Absolutely no!
Price point.
No one shops alone on just price, but for what you are getting with this unit, it is VERY COMPETITIVELY PRICED. I'm not going to mention names, but it's funny how some "affordable" adapters are coming to market for almost $5000.
When the 35mm adapter first came on the scene, it was only P + S Technik, and it was $10K !! How is this aimed at the indie filmmaker?!
So Redrock opened the floodgates to that with a $1k adapter. I tip my hat to them for that. It allowed for other manufacturers to come to market and bring quality driven products with affordability for the indie filmmaker.
With Shoot35, I see that, and in full force.
For what you get and it's price, you really can't beat it, really.

Image, build quality, price point. Sold yet? There's more!....and probably the most important element in a buying decision.
Customer service.
Shoot35 is located in the UK. I'm in the good ol' U.S. of A.
You would think with the distance that would be difficult. The way they have treated me, Wayne specifically, the distance issue becomes irrelevant.
I know that they have MANY MORE customers to deal with than just me, but they don't treat you like a number, and there is sincere care with them. They don't just try to make a sale. They really care and understand us shooters.
I've ran into a couple of "kinks," with my unit, BUT, AND I STRESS, that has not dwindled my faith in the Blade or their makers at Shoot35.
I emailed Wayne about an issue I was having, on a Saturday, and he responded the next day!!
He is such a humble guy. He APOLOGIZED for not getting back to me sooner!! It was the weekend and there is a HUGE time difference between us!! That is humility right there.
That doesn't exist much in the business world, but it is clearly evident at Shoot35.
Needless to say, they have me taken care of.

That is my personal experience with the product and the company behind it. NO, I DON'T WORK FOR THEM and NO I'M NOT TRYING TO ENDORSE. But, I feel that when a company is doing whatever it does RIGHT, and not just right, but goes BEYOND THE CALL, it is a crime to not give recognition to that.
So, if you are in the market, I would SERIOUSLY give them a good look at. You WILL NOT be let down. Period.

Here is my first video with the unit:

http://www.vimeo.com/5603677
 
I actually just picked mine up from UPS. I was dying to get mine. i'll be using mine with my hmc150 and my canon primes. the build quality is top notch. unit is actually heavier then i thought, but i like that nice and solid. i do have one question though, i was going to email shoot35 but it usually takes a day, when i opened the case there was a chrome nut and a black bolt just loose in the case. i looked around on the main unit and the rails to see if something might have come loose during shipping but i could not see where it went. on the rails unit you know the blade support bracket has that black thumb screw with the black washer on it that tightens the support bracket to the rails, well thats what the piece looks like and the other one is just a regular chrome nut. any ideas

thanks
Ninos

edit: ok i figured out that the other thumb screw goes under the adapter itself and now to figure out where the chrome nut goes.. sorry im not trying to hijack the thread just posting my thoughts on it and a question :)
 
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scenedirector said:
I'm not going to mention names, but it's funny how some "affordable" adapters are coming to market for almost $5000.
http://www.vimeo.com/5603677
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It's funny how you said you don't mention names but it's blatantly obvious what you're talking about. It's not an apple to apple comparison. The adapter in question (I won't mention names either) is not in competition against the Blade, it's in competition with the $10-20k P + S that you mentioned. And the fact that it beats those adapters silly for just $5k is pretty astounding in itself. For a considerably lower rental cost you can get much better value for your money. "Affordable" is a relative term. The RED at $17k for the body is very "affordable" to filmmakers who were used to spending $100k on Panavision and F23 but if you're used to spending 5-6k for a camera then it's probably out of your budget. So you really need to compare products that are at the same price range, and the company you reference do have a competitive adapter at the Blade's price range.
 
I had an issue with PayPal and I received email responses right away! It's a very good sign that they really have the customer service part of things down pat.
I waited initially for the fix for CA and Edge to Edge and I couldn't wait any longer. I get mine in two weeks and I'm as anxious as a kid on Christmas. When I get mine I'll post test charts with the EX-1 since I haven't seen any.
My choice was made after a long, long time lurking here and other boards, reading every little scrap of opinion (esp. Bloom's) and realizing I had to weigh cost and quality (unfortunately that cost alone made the Letus Ultimate fall off my list - it was in my shopping cart several times and I just couldn't pull the trigger with business off these days... so now I have some cash left over to invest in glass). I'm looking forward to the benefits of a spinning adapter but I was very close to the Brevis and the Elite. And the M2e looked great... what a nail biter! At last I figured out it's not so much the tools as it's the art! The advantages each adapter may have over the others seem to just cancel themselves out. So I'm going to get a follow focus from Cinevate, v2 rods from Letus and the Red Rock mattebox - that's one way to throw my support to these companies.
 
ScreenDirector:

I feel the same way about the Blade and Shoot35.

Thanks for posting your first test. I noticed on your video that you have some dust spots. Those spots are likely on the condenser or achromat or even inside the Blade on the condenser or the glass where the RotoRazor is mounted. Small dust particles on or inside the 35mm lens would not even be visible on your video.

One of the things that you should become familar with right off the bat is how to dismantle the Blade and give all of the components a thorough cleaning. Once it's cleaned, it seems to stay that way - only possibly being exposed to dust again if you dismantle it or possibly get some on the achromat if you remove the Blade from the adapter. Dust is somthing you have to watch with most adapters. Many times you won't notice it until you are reviewing the video you shot. Do yourself a big favor and take care of it now. You'll be that much more happy with the results of your work!
 
MVANSOMEREN:

Yeah, the "dust" you see is actually debris!
It's a little issue I'm dealing with with my Blade unit. Wayne is taking care of me, as we speak, though.

You are absolutely right, though. I've taken it disassembled and reassembled the Blade several times. Once this issues is taken care of, I hope to keep the disassembly to a minimum.
 
Huy Vu:

I understand what you're calling me out on. I was being a little snide there. It's just that some products seem to every so slowly start racking up in price, causing this target marketing towards indie filmmakers to become irrelevant.

BUT, in agreeance to what you are saying, there are different markets and different customers with different definitions to their affordability.

So I will say: in the $1k range of adapters, the SGBlade kicks ass!
 
I'm also looking forward to getting mine, it's in the mail on its way to me right now. I seriously can't wait to bust it out of the box and head outide to shoot. I've got the lenses and everything ready!
 
What is the point of getting a 2/3" scarlet + relay + 35mm adapter instead of a S35 or FF35 Scarlet with a Nikon mount ? Price difference would be kind of small.

Anyway, we are also very satisfied with our EX3 / SG Blade combo. :)
 
I totally understand, Nomalz.

But the 2/3" Scarlet has 120fps and speed ramping. Having more frame rates is more valuable to me rather than resolution. A 3K camera is enough resolution to make a 1080p master.

I understand we are getting all these cameras that are acquiring HIGH megapixels, but what's the point if the chance that your work is going to be projected on 40ft screens is slim to none.

We are in the age of the internet indie filmmaker. I expect most my work to be seen on 17"-30"(tops) LCDs on my audience's PC. Besides, a lot of HOLLYWOOD big budget films have been shot on 1080p cameras.

Resolution is there. Frame rates, and dynamic range is my covet for my next camera purchase. :-)
 
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I get your point, but in my opinion, the most annoying thing about 35mm adapter is the total length of the rig (needing long rods and support bracket, making everything heavier, etc). We are doing fine with our EX3 / Blade rig right now because there is no other available option, but when Scarlet comes out, the "2/3" scarlet + relay + mini35 + lense" option is clearly a deal breaker for me.
 
I just joined the Blade club too. I received it last Friday and had some time to test it and do a few comparisons to my trusty Extreme. This is going on an EX1 which we all know is anti-adapter.

I agree with scenedirector on Shoot35's professional service and quality. They are impressive.

My time is quite limited, but I'll try to post some info on the Blade regarding edge to edge sharpness, grain, and unit noise. Also some comparisons between the Extreme and Blade on the EX1. (Right now, I'm testing different ways to improve edge to edge sharpness. I want to get it right or at least good enough before I post any charts.)

Enjoy the new Blade, it's quite impressive!

(Hey scenedirector, which gig were you at in Colorado?)
 
Scenedirector makes a very valid point about the number of K's we all expect now. People seem to snigger at 1080p HD, when it has proven itself in the feild of pro video and film for years. In any case, digital filmouts are all in 2k anyway, so even if you were lucky enough to land your work up on the silver screen, it would be projected at 2k, no matter now many K's was used to shoot it with. A 2k filmout from 1080p footage works fine as it is.
 
hoarp001 said:
Scenedirector makes a very valid point about the number of K's we all expect now. People seem to snigger at 1080p HD, when it has proven itself in the feild of pro video and film for years. In any case, digital filmouts are all in 2k anyway, so even if you were lucky enough to land your work up on the silver screen, it would be projected at 2k, no matter now many K's was used to shoot it with. A 2k filmout from 1080p footage works fine as it is.
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This is great for all to pay attention to and one thing you also must remember that while the RED is 4K as far as the sensor goes, it also contains all 3 elements on it, i.e. 4K / 3 (for RGB) = 1333.3 Effective Color RGB. Basically a RED is a 1333 camera where the sensors are all stacked up. Creative Cow has a great article about it. I wrote about it and you can read the article here:
http://www.dvxuser.com/V6/showpost.php?p=1536805&postcount=130

Any 1920x1080 camera with 3 sensors is actually a 5.7K camera. The light is split into 3 pieces and focused on their own sensor plane.

This is why the RED and EX series can be cut so well together. As the article states most of what indies get into is marketing hype.

As hoarp said above, movie projecton is 2K and the guy from the article states the effective resolution is even less than 1920x1080. I've seen HDV 1920x1080p blown up on the big screen. On a nice 30ft screen and if you light right and do what you need to do with a good story no one will be able to tell you didn't shoot with a RED or Super 16. The movie I saw was shot with a Letus Economy Adapter and Sony V1U (a 1/4 chip cmos camera that does 1920x1080).

Each adapter type item (camera add-on) people bring up adds to the image and overall feel of the movie, but you don't want to get confused with what each piece means and it's importance.

My next movie I hope to be no lower than:
Ex1 + SGBlade + Zeiss Lenses + Convergent Design Nano Flash + Zaucto Rails
This combo is around $14K and should based on my research give an image that can rival a RED easily.

Here is the long breakdown (since I just got to work and need to wake up :laugh:)

EX1/EX3 - Give a perfect (tested by numerous people) 1920x1080 sharp image at F8-F11. With the gamma/"curves" you can pull 12 stops into the image. RED has been measured to 12 and 13 stops of light max. Good low light.

SGBlade - is economic, gives edge to edge sharpness, great bokeh

Zeiss Lenses - Some of the Best in the SLR world, much cheaper and some say sharper than some Motion Picture Lenses, only down side they "breathe" as you rack focus (but this can be fixed in post by simply scaling in on the focus 1 to 3%) Each Lens will average around $850, you'll need at least 25/28mm; a 50mm and either a 85mm or 105mm.

Convergent Design's Nano Flash turns the EX1 from a 35Mbps camera into a 100Mbps camera - so everything wether it's water or leaves on trees or blades of grass will not go into a compression blur. This also lines up with Industry standard D5 (One of the highest levels of High Definition). The Nano Flash can also record about 100Mbps even at 160Mbps and they are discussing 220Mbps. Lets do some math to make sure everyone understands compression. We have 1920 x 1080 pixels each having 3 - 8 Bit channels and runing 24fps.

Uncompressed 1920 x 1080 x 3 x 8 x 24 = 1,194,393,600 / 1194.4 Mbps

Because of the Long-GOP Codec at 100Mbps you can create an image that is 98% accurate to the 1194.4Mbps. Long-GOP falls apart in "our" cameras because the bit rate is so low. Industry standard for Television is around 50Mbps, so that's is where the industry says "hey no big deal" but most of low budget indie equipment (Ex1, HVX100, A1, V1U, Z1, etc) is 35Mbps and 25Mbps.

So the codec falling apart can be fixed via Nano Flash for a nice set of pennies $3000.

Zaucto Rails - Why? They are built like tanks. They cost though, a rig to hold this will run you over $1,200 USD. But Why do you want to put $12,000 USD worth of equipment on rails that cost $200? You need to make sure when you pick your rig up, it stays together and doesn't break apart on the floor.

Ex1 with Batteries et al $6600
SGBlade approx $1000
Zeiss Lenses $2600
Nano Flash + 4 16 GB Cards $3400
Zacuto Rails approx $1500
Shipping approx $300

Whole Set approx $15,400

This set will give you:
Good, but not perfect Low Light (RED still wins here)
Great Sharpness (Probably a tie between cams)
Great Compression (Both Win, EX1 the files will be smaller so your computer can handle them, but not as flexable as RED. But RED needs major horsepower to process data)
Great Glass and Depth of Field (SGBlade / Zeiss)
Great Color (RED may have the upper hand, but that's why you color correct footage)
Dynamic Range (RED has the upper hand, BUT EX1 can control it's highlights so it can make images very close to RED. And with digital you need to use a lot of ND anyway and control your highlights)
You'll have 24p and Slow motion up to 60fps with is 2.4x slow motion, and a program like Twixtor for $200 can give you 120fps if you need it.

Basically unless you have $30K for a RED and Lenses plus another $15K for computer equipment (remember you need lots of hard drives) it'll be difficult to shoot RED for a feature. The overhead is too high. And based on the article above and the advances in technology you don't need to. Until Scarlett comes out which could be anyone's guess, this "I think" is a great sub $16K solution that will show up well on a Film transfer, will be beautiful on the big screen and will give you everything you need and more importantly it's available NOW, not later but right now.

I'm sure much of what I said above is accurate based on my memory, but you're welcome to do some research. The most importaint thing anyone can do when it comes to camera, lighting and audio equipment is do as much research as you can and keep reviewing things over and over to be sure they stack up.

Thanks for reading. LOL
 
TMDFilms:

Oh, I was out in Boulder doing some lifestyle footage for a retirement community that is being put in near the CU campus. Yeah, I know: retirement community next to a college?!

I don't know. They just pay me to shoot pretty pictures. ;-)
 
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Don't have the rig yet. I'm currently finding money for my next project. I've decided if I get the money I want, I'll either go with a RED or get a RED Owner to DP the movie, if not, I'll used this NOS-Fast and the Furious- Super Digital - Rig! LOL
 
TMDFilms said:
I just joined the Blade club too. I received it last Friday and had some time to test it and do a few comparisons to my trusty Extreme. This is going on an EX1 which we all know is anti-adapter.

I agree with scenedirector on Shoot35's professional service and quality. They are impressive.

My time is quite limited, but I'll try to post some info on the Blade regarding edge to edge sharpness, grain, and unit noise. Also some comparisons between the Extreme and Blade on the EX1. (Right now, I'm testing different ways to improve edge to edge sharpness. I want to get it right or at least good enough before I post any charts.)

Enjoy the new Blade, it's quite impressive!

(Hey scenedirector, which gig were you at in Colorado?)
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I'd like to hear how your test went.

Does anyone else have any experience shooting with the Letus EXTREME vs the SG Pro?

I've been really happy with the Extreme so far, but have had some issues with pieces breaking. Letus has been great about repairing it, but I still hate having it offline for 3 weeks.
 
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