All our products including our MoVi M10’s when returned from our clients are checked over and serviced by our service team in the rental department. Marko is checking over the MoVI M10 by Freefly Systems, making sure everything is in working order so its ready for our next client.
Check out these pictures we put up that show some of the steps needed for the MoVi M10 to be set up. Today he is testing and balancing the RED Dragon with the Leica Summicron-C 29mm lens.
The M10 is custom designed and custom built. The brushless motors are the perfect blend of performance and weight while the entire rig runs virtually silently. The M10 gives filmmakers total control over the stabilizer with multiple modes for single operators and dual operators.
A good friend of Hollywood Camera Pierre Chemaly who’s been a DP since 1992 dropped in to run some camera tests for his upcoming feature film. Pierre’s shot features/shorts, commercials and Aerial work all over Eurpoe, Africa and the US and like most has seen the transition from film to digital.
Gianluca Bertone from Bertone Visuals and Pierre discuss the pros and cons of the Sony F55 and the Arri Alexa Plus. Pierre wanted a camera package that was the best choice for the job, he wanted something lightweight and shoots 4k Raw, so he has the option to go to a theatrical release and not be restricted in quality.
Nice too see 2K, 3K, 4K, 5K, and 6K sensor size vs different film formats.
Here is a great write up regarding the RED DRAGON 6K sensor by Phil Holland.
6K is the maximum resolution of the RED Epic Dragon. 6144×3160 or 19.4 megapixels at a 1.94:1 aspect ratio.
6K is 9.36 x more pixels than 1080p.
6K is 8.78 x more pixels than 2K.
6K is 2.2 x more pixels than 4K.
6K is 1.4 x more pixels than 5K.
At 300 DPI you can make a 20.48 x 10.53 inch print from a full 6K Dragon image.
At 150 DPI you can make a 40.96×21.067 inch print from a full 6K Dragon image.
6K is 14% more resolution than 5K for a pristine full debayer down to 4K. Meaning it’s a 66.7% down sample/debayer to 4K.
If we’re thinking about a 4K finish, having more resolution effects color and luminance in a good way. It also gives a bit more freedom for creative re-framing, cropping, or leveling. Fine and high frequency details will actually down sample into 4K and benefit from that extra resolution. There are many ways to work with and finish REDCODE for screen and print use. Over sampling and the use of a debayer pattern help eliminate aliasing artifacts. If you want crisp and detailed images there’s options. If you want a smoother feel there’s options. Just depends on what you’re after and the workflow you choose.
1) Connect the camera to DC power supply
2) Complete a factory restore on Operating System
3) Set the camera project to the desired Resolution, Frame Rate, and Codec
4) Insert SSD media into the camera
5) Format the SSD using the media menu
6) Shoot 3 shots over 2 min each
7) While shooting the test shots attach a lens to the camera and remove lens cap
It is important that the test shots have variation of color, exposure, and distance to objects. I would suggest pointing the camera around the room and focusing on different objects.
This is because when the camera is only creating black pixels it isn’t really testing the camera’s ability to record an image.