RED SENSOR vs FILM FORMATS
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.
RED camera and recording on SSD cards
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.
Optimo Anamorphic 2S Zoom – Angenieux
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.
Fujinon Cabrio Zoom 19-90 T2.9
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.
To enquire about renting this lens visit the product page by clicking here or call 818 972 5000 to speak to a rental specialists.
Fujinon Cabrio 19-90 zoom lens.
Fujinon Cabrio 25-300 T3.5 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.
To enquire about renting this lens visit the product page by clicking here or call 818 972 5000 to speak to a rental specialists.
Fujinon Cabrio 25-300 T3.5 zoom.
Litepanels 1×1 Bi-Color. Let There Be Light! (Like, 4X the light!)
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.
Features/Advantages
- 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
- Ballast-free
Portable Post-Production!
A Full Post-Production Facility on Wheels. They call it the “Dreadnought“.
Created after years of research and development by Gianluca Bertone of Bertone Visuals, the Dreadnought is the set solution that every production needs.
Simply put, the Dreadnought 4K is a mobile system that allows one to Edit, Grade (Secondary Color Correction/Power Windows) and Execute Raw Footage on LTO-5 supports.
Directors, DPs, Editors and Colorists can work from set, the production office or even back at the hotel!
Powered by CUDA technology, the Dreadnought 4K can reproduce in real time any 3K/4K raw footage, like Arri Raw, Sony Raw or Canon Raw. With additional accessories, the Dreadnought can even project 4K on a big screen (Rec 709 Color Space, Ultra HD and 4K Resolution).
The Dreadnought 4K can read digital magazines from ANY 4K digital cameras (like the Sony F65), and ingests “digital assets” (i.e. footage) with 6G SAS and 10 Gigabit fiber optic technology. Rest assured that your entire feature or multi-camera commercial will be stored safely.
This is a powerful system that can transcode for dailies (Apple Pro Res, Avid DNxHD, h264 codec, etc.), and can even make a ROUGH CUT with Avid Media Composer, Adobe Premiere CS6/CC or DaVinci Resolve 11.
Finally, the entire system is transported via a Nissan Cargo Van HD3500 with hydraulic lift, and comes with a skilled technician.
Our New Cooke Anamorphic Lenses Test Footage
Many cinematographers love the look of anamorphic lenses. Many others are quite fond of Cooke Optics because of their distinctively warm and creamy aesthetic, lovingly known as the “Cooke Look.” Imagine the delight of cinematographers all over the world when Cooke announced during last year’s NAB that a brand new line of high-end anamorphic cinema lenses was in the works. Pure elation. Now we’ve got some of the first test shots to surface from these world-class anamorphic lenses, and the results are just what you’d expect, optical excellence and pure cinematic beauty.
The following two videos contain anamorphic test footage from two different cinematographers, John De Borman and Patrick Blossier respectively.
Overall, these Cooke anamorphic lenses look to be a fantastic option for discerning cinematographers looking to combine the Cooke and anamorphic aesthetics. Without any doubt, it looks like a match made in heaven. These new lenses should be released within the next few months, most likely at NAB 2014.
They will be arriving at Hollywood Camera as soon as they ship! Reserve them now!
Article reprinted in part from, No Film School, written by Robert Hardy. Read more articles written by him here.
MoVI Footage Hits the Internet
Not long ago we published a quick look into working with the Freefly Systems MoVI M1o. Turns out some of that work has hit the internet as the new Flume music video “Drop the Game” featuring Chet Faker. Take a look here.
Our real interest is in the camera work as it is one of the first non Freefly sourced examples of MoVI work out for the public. As we mentioned in our last blog post, this video was shot entirely by the MoVI. No other type of support was used for the camera. Though we cannot agree that the powers that be used the absolute best footage available, some of the shots sing with the freedom we all wanted with the MoVI.
It’s hard to describe the freedom without seeing it first hand. A production gets paired down to bone, and the camera is free. Free to turn 360*. Free to pull away or push in any distance. Free from the arching movements of a jib. Free from the massive space taken up by a telescoping crane. Instant repositioning of the location, even in the middle of a take. Truly liberating for those stuck in place with standard camera support.
What benefits do you see in the MoVI? We’d like to hear your thoughts.