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.
We are very proud to announce the arrival of the Angenieux Optimo Anamorphic 56-152mm 2S Lens here at Hollywood Camera. Optical performance never seen before from any other anamorphic zoom, with a 2x squeeze, no ramping or breathing and a fast aperture of T:4. The unique optical design combines spherical and cylindrical elements in the same group giving this anamorphic lens exceptional sharpness and low distortion.
With a 2.7x zoom range this lens allows great flexibility for framing without needing to move the camera set up. Compact and very light, weighing in at only 4.8 lbs.
To enquire about renting this lens visit the product page by clicking here or call 818 972 5000 to speak to a rental specialists.
The Fujinon cabrio 19-90mm T2.9 zoom lens designed for current and emerging Digital Cinematography and 35mm motion picture film cameras featuring fast T stops, and exceptional optical performance.
The digital servo on the PL 19-90 has 16-bit encoding, so operators can be assured that all lens data output is extremely accurate. The PL 19-90 covers 31.5mm sensor size on a digital cinema style camera. While sensors on standard broadcast cameras are all the same size, sensors on digital cine cameras vary greatly.
This new zoom ensures the image captured will cover large sensors for optimal, full-frame resolution. A nine-blade iris part of the design as well, creating the most natural-looking imagery possible. With a 19-90mm focal range and weight of only 2.7kg including servo motors, this lens has the longest focal range available in a light weight zoom.
At Hollywood Camera we take pride in what we can offer to our clients for their production needs. Just recently we’ve added the amazing Fujinon Cabrio 25-300 T3.5 zoom lens to our product line.
A 12x PL mount cine lens, starting at 25mm and reaching to 300mm, will give you the versatility to cover a wide variety of shooting situations. A nine-blade iris part of the design as well, creating the most natural-looking imagery possible.
Litepanels 1×1 Bi-Color
All In One – Tungsten & Daylight
Finally, ultimate color control right at your fingertips. A soft, high output light that lets you quickly dial up any color – from cool white daylight to warm white tungsten. The new Litepanels 1×1 Bi-Color flood lets you adjust color temperature instantly so you can adapt to different shooting conditions and skin tones on the fly. Like all Litepanels’ 1×1 lights, the Bi-Color has a full-range dimmer, remains cool to the touch, runs on AC or DC power, and produces a great, soft-wrapping light quality.
- Slim, sturdy, lightweight and portable
- Adjust color from daylight to tungsten and anything in between
- Powered by AC adapter or professional batteries via an optional adapter
- Integrated DMX module with RJ45 (Ethernet) connectors for remote dimming and color temperature adjustment using DMX512 protocol
- Litepanels Cool to the Touch™ heat-free LED technology
- Flicker-free at any frame rate or shutter angle
- 100% to 0 dimming with no noticeable color shift
- Comparable light output of 200W HMI
- Long life LEDs
- Modular design for multi-panel configuration
- View-thru holes to see the talent