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Whats the new MF camera?

KETCH ROSSI

New member
Ketch - if they can make a 617 chip that matches the quality of the current makers in terms of IQ - it is my dream format - I am guessing it is at least 2 years away no matter. If they then are smart enough to allow the right lens manufacturers mounts to be used ..that woudld seal the deal -:)

Pretty much every landscape shooter would jump on this in a blink.
Well Peter specs look good, will see as you say what it will be delivered as far as IQ, but I'm confident we will like what is to come form it.
 
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KETCH ROSSI

New member
Which of these are shipping, and which are almost shipping?
The RED ONE is shipping, the RED EPIC-X will be shipping early 2010 as first Pre-Production Beta units to select individuals under the code name Tatoo, then around NAB, April/May the Actual units will start shipping, followed by the RED Scarlet in May/June.

Basically spring/summer for the Production models of RED Epic and RED Scarlet, just remember that this have a specific schedule of priority customers, first those which already own a RED ONE, and then every one else :)

For more info Carsten you can visit the following links:


RED EPIC: http://reduser.net/forum/showthread.php?t=37011


RED SCARLET: http://reduser.net/forum/showthread.php?t=38274
 

carstenw

Active member
Thanks for that, Ketch. I was mainly interested in the sensors, not the cameras, and in fact, I am mainly interested in the 3 large sensors, not the small-to-medium ones, so I guess I have to wait a while longer. I am not personally interested in a video camera which can do stills, but the larger sensors are fascinating as technological objects.

When they were announced, they were some pretty exciting sizes, but meanwhile, the 6x17 is the only size which hasn't already been done by others, so I guess that is the one which I am *really* interested in (and will never be able to afford).
 

KETCH ROSSI

New member
Thanks for that, Ketch. I was mainly interested in the sensors, not the cameras, and in fact, I am mainly interested in the 3 large sensors, not the small-to-medium ones, so I guess I have to wait a while longer. I am not personally interested in a video camera which can do stills, but the larger sensors are fascinating as technological objects.

When they were announced, they were some pretty exciting sizes, but meanwhile, the 6x17 is the only size which hasn't already been done by others, so I guess that is the one which I am *really* interested in (and will never be able to afford).
Most welcome Carsten.

While the 645 sensor is widely available no other MF offers a 65MP resolution while shooting 50 frame per second!!

The 617 will do 30 frame per second at its full resolution of over 200MP, and yes will, be an interesting Sensor to see at work, personally I will see more use from the 645, but will not discard the 617.
 

KETCH ROSSI

New member
Red is a master of vapourware. Most of this stuff has been announced a year ago and is still only a 3D rendering.
Well some of them are renderings, and some as pointed out are actual photos, so the vaporware is in the shower :D

Sorry, this is starting to sound like an infommercial. Red is undoubtedly great value for money, and has an innovative approach, but it's definitely not the ultimate in image quality.
Well to my experience and to what I know in person, and in my Professional OPINION, not a fact, but my opinion, they are by far the best Cinema camera solution, and that is it, IQ, acquisition format, and son, value off course the most well known factor, and it has been the most evident since day one, when they were a VAPORWARE with RED ONE, and now is the same for the new line of cameras, but I guess the very many Multi million dollar block busters should surely prove those theory of vaporware pretty wrong.

Remember I'm just an end user, very happy with the products I got from this company, not a representative and or some one that works for RED, and my opinions are based on facts of knowledge that comes from direct use of their products.

The only thing that allows you to say vaporware is because this company works with a transparency policy and lets every one know what they are up to way before they get to do it, so some like you might think that is vaporware, and its okay, I know it is not, and to me it is all that matters.
 

bavanor

Member
Thanks Bill, I will be patient. Now I need to just lay off the caffeine so I can be patient without bouncing off the walls :D
 

carstenw

Active member
Well to my experience and to what I know in person, and in my Professional OPINION, not a fact, but my opinion, they are by far the best Cinema camera solution, and that is it, IQ, acquisition format, and son, value off course the most well known factor, and it has been the most evident since day one, when they were a VAPORWARE with RED ONE, and now is the same for the new line of cameras, but I guess the very many Multi million dollar block busters should surely prove those theory of vaporware pretty wrong.
I think if you had written "digital" somewhere in there, hardly anyone would argue, except for the swimming CMOS captures in some situations. I work as a programmer in the entertainment industry, writing renderers for, among others, Hollywood effects companies, and I know a number of post-processing professionals who curse every time they have to work with RED material, due to workflow, which RED has apparently not thought through completely well. There is lots of work which goes into cleaning up RED source. I think the real revolution has been in the capture area, not in the eventual results. The physical system is incredibly well thought-out and cameramen must love it.

However, lots of people, myself included, will argue that film is still far superior in look. Small sensor cameras still have way too much DoF, which is apparently why many of the largest titles are still filmed on 35mm or better. It is like comparing old Hasselblad film captures to (high-end) P&S digital.
 

KETCH ROSSI

New member
I think if you had written "digital" somewhere in there, hardly anyone would argue, except for the swimming CMOS captures in some situations. I work as a programmer in the entertainment industry, writing renderers for, among others, Hollywood effects companies, and I know a number of post-processing professionals who curse every time they have to work with RED material, due to workflow, which RED has apparently not thought through completely well. There is lots of work which goes into cleaning up RED source. I think the real revolution has been in the capture area, not in the eventual results. The physical system is incredibly well thought-out and cameramen must love it.

However, lots of people, myself included, will argue that film is still far superior in look. Small sensor cameras still have way too much DoF, which is apparently why many of the largest titles are still filmed on 35mm or better. It is like comparing old Hasselblad film captures to (high-end) P&S digital.
Yes you are right I should have specified "DIGITAL CINEMA CAMERA" but having been two years with this cameras for me has become second nature, but will sure add "DIGITAL" in every sentence to regards RED from now on :~).

Yes RED cameras have still a cropped sensor, and only with the new FF RED EPIC/SCARLET we will see a sensor size equal to that of film, and bigger with the 645 and 617 RED EPIC sensors, but I never compare film to digital, as a long time Film shooter, I come to love the film look, and now as in recent years have moved entirely to Digital I come to love IT, but each has a very distinct look.

As far as post with RED R3D files I agree, but only in part, as with every other new system it takes time to master, and the Digital acquisition that is happening with RED R3D files must not be treated like any other Digital file, and has its own workflow, but in time I'm sure more Post houses will follow in and become better and better at it, as RED it self is continuing to update and better their filing system and Post workflow possibilities to get the best off their R3D files.
 

Don Libby

Well-known member
I agree. It’s almost like finding a solution for something that didn’t exist. Yeah it’s great that you can use a 35mm lens attached to a medium format back and get movements however in my case if I want wide I use my 35mm on my WRS and use movements or I’ll use the 24mm w/out any.

All in all just ho hum for me.

Don
 

Christopher

Active member
I think it is a great idea and I sometimes would love to have something that wide, but I don't see a sense in spending a lot of money to use two more lenses.
 
T

tokengirl

Guest
I already have a bag full of Canon lenses (including the 24mm TS-E II), so if I can get all the 16-bit goodness of a P45+ without having to buy a bunch of new lenses, and go ultra-wide, and have the use of T/S, I am very interested to see and hear more. VERY interested.

It sure it one butt-ugly camera though.
 

David K

Workshop Member
Might be something to consider if you have a bunch of Leica R glass sitting around gathering dust. Will have to see which lenses have the requisite image circle.
 

Bob

Administrator
Staff member
I already have a bag full of Canon lenses (including the 24mm TS-E II), so if I can get all the 16-bit goodness of a P45+ without having to buy a bunch of new lenses, and go ultra-wide, and have the use of T/S, I am very interested to see and hear more. VERY interested.

It sure it one butt-ugly camera though.
Yeah it sure is, but it has a certain charm.
-bob
 
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