Yet another exciting week over at the RED HQ.

Already next week will see the first RED One cameras getting a sensoral facelift. The new sensor has better dynamic range, higher sensibilty (800 ISO as standard, usable even at 3200 ASA) and the new color science, named FLUT. The swap will also get your camera a new sensor board and a new (optical) low pass filter. A bit over USD 5.750 for the conversion ($1.250 will be refunded when you buy an Epic). Throw in an extra 3k, and you will get a RED Rocket for a bargain price.

Anamorphic, baby

Today RED announced that they will produce anamorphic lenses. Last year they rocked the glass world with their set of primes, where a set of lenses costs as much as you would previously have to pay for a single focal length. Now you have until the end of this year to save towards the 35mm, 50mm, 85mm and 100mm lenses; all at T2.4. A 25mm is probably also in the pipeline.

Here comes a slightly updated overview of how much weigth your shoulder, your tripod or your rig is supposed to handle. Always keep in mind extra weight for mattebox, filters, cables, transmitters etc.

Thanks to Adrian T. for permission to reproduce his table.

Been a bit quiet on this blog, mainly because of work-load. Plus, I’ve been promoted to admin over at reduser, so I tend to spend computer time there.

It’s been a week now since the latest announcement by RED, and mostly people are very happy with the new information. Currently though there is some discussion about the naming of their new electronic viewfinder, the BOMB EVF. Some people tend to worry that the naming might cause problems at security checks. Matt Gottshalk promptly suggested an alternative name, the Warm Squishy Love Monster EVF, which inspired me to do a quick photoshop mock-up:

Since that wasn’t peaceful enough, Andrew Clemson also asked for a furry version. I just had to oblige:

Finally got some time to do a new showreel, featuring only shots done on the RED one camera.

Below you can see it in SD quality, or go to Vimeo for the HD version. Enjoy!

About 2 years ago RED scrapped their plans for a mattebox. Yesterday Jim posted the following render, which gives food to the hope that the announcement for late October might just include in this picture (click on it for full size).

Looks like carbon fibre with 2 rotating 4×5.6 trays, enough holders for eyebrows on all 4 edges, and option to clamp it onto the lens.

This was a busy night with Jim showing a couple of new renders from the upcoming EpicX 5k camera. What is so special about this camera – besides its technical specs – is its modularity. You can use it as a very small, lightweight system (ideal for run-and-gun shoots), or build it up into pretty much any configuration you can imagine.

Lego taken to the next level

There will be a number of battery options on the new camera. As promised, most equipment from the RED One period will be compatible with both the Epic and Scarlet. To use V-lock batteries, there will be a module for batteries – which will take 2 batteries at a time, for extended running times; especially taken into consideration that the new cameras will draw less power.

more…

I finally got around to conduct a casual lens test for all the Contax Zeiss lenses I own. I shot all lenses wide open, at 2.8, 5.6, 8 and closed at 16 or 22. I moved the camera, so as to keep the framing similar. On the 2 zooms I own, I tested these on both ends and in the middle. I also tested a few lenses with a 2x extender.

In the end I chose a 150×150 frame, cropped these in Graphic Converter into high quality jpegs (@90%). Then I sorted all crops according to their f-stop. During the next days I’ll post the results.

Today I start with 5.6, which is the stop that should be the sweet stop for most lenses (i.e. 2 stops down from wide open). This should give a good indication of how the lenses perform optically. I opened up all cropped jpegs, without knowing which one belonged to which lens. Then I ordered them as to how good they resolved the text – this step is of course up for discussion, but gives a general idea. more…

At times the menu of the R1 can be a bit counter-intuitive, for example that phantom power is under System>Sound, while the recording level is placed at Video>Audio. Helpfully, Octamas from Switzerland has been publishing a visual guide of the Red 1 menu system, and they’ve just released their guide for still-warm Build 20.

Bits, pieces and links

And for inspiration, hop over to As the Dust settles, a documentary in progress about the amazing Burning Man Festival – all shot on RED. They have a lovely photo gallery.

If you ever need a manual for an old camera, check out IscanManuals. They charge a small fee.

Trying to hide in the open with your camera? LensCoats makes, well, lens coatings, for pretty much any make, including the Canon 1200mm beast:

A quick fix around the gamma problem in QT and OSX.

Changing from DV to Red RAW has many advantages. One of them is that of a vastly improved possiblity to change things in post production. White balance is not baked in, and certain changes to exposure can be done without much penalty.

And thus an idea for a movie poster was born…

I am one of the alpha testers for the new RED build, that promises improved performance under low lights and tungsten. What better place to test than a low-lit death metal concert. All tungsten lights.

Am very impressed. ISO 640 @ f1.4 on Contax Zeiss 50mm and 85mm.