Experienced Digital Image Technician service available with inclusive package of maxed out 27″ 5K iMac plus a second 30″ Apple Cinema Display, GRAID 8TD Thunderbolt Drive, full suite of Adobe Creative Cloud 2015, Final Cut Pro and Davinci Resolve. Email email@example.com for affordable rates.
Over eight years experience on hundreds of shoots with RED One Mysterium, RED One Mysterium-X, RED EPIC Mysterium-X, RED EPIC Dragon, ARRI Alexa, Canon C300, Canon 5D and Sony FS7 shoots.
A quick search on Wikipedia succinctly defines “bokeh” as; “(Originally /ˈboʊkɛ/, /ˈboʊkeɪ/boh-kay — also sometimes pronounced as /ˈboʊkə/boh-kə, Japanese: [boke]) the aesthetic quality of the blur produced in the out-of-focus parts of an image produced by a lens. Bokeh has been defined as “the way the lens renders out-of-focus points of light”. Differences in lens aberrations and aperture shape cause some lens designs to blur the image in a way that is pleasing to the eye, while others produce blurring that is unpleasant or distracting—”good” and “bad” bokeh, respectively. Bokeh occurs for parts of the scene that lie outside the depth of field. Photographers sometimes deliberately use a shallow focus technique to create images with prominent out-of-focus regions.”
When deciding what lens to go with for a particular scene, choosing between the Canon EF 85mm f/1.2L II USM Lens and the Zeiss Compact Prime CP.2 85mm T/1.5 Super Speed can seem like only a matter of personal choice or budget, but when bokeh is desired either during night scenes like the exagerrated examples below; or day scenes, where the use of shallow focus is used to isolate the subject in the frame, the choice can actually make a bit of a difference.
To show the difference between to the two lenses, we went down to the Las Olas Riverfront area of Downtown Fort Lauderdale where they’ve strewn beautiful lights over the roadway. All shots were taken with the aperture wide open.
It’s widely accepted that having a rounder bokeh is considered the most desirable. However there is always artistic freedom, and some like the imperfect bokeh. Some also make and use bokeh filters to create artistic effects in photography. In the case of these two lenses the Zeiss CP2’s are superior in the roundness due to the 14 Blade system which creates an almost perfect circular bokeh. On the other hand, the Canon L series lenses have an almost perfect bokeh in some situations. This is due to Canon’s 8 blade system.
In order to understand what would create the difference, take a look at the two polygons below and imagine the corners of the blades inside the lens coming together and light shining through them. It’s easy to see then, in the images below why the Canon pictures have cut corners and the Zeiss lenses have mostly perfect circles. In the shots from the zeiss lens, it is noticeable that there were some oval shapes due to the angles of light, and curvature of the lens, but none of the abrupt cuts that were found on the Canon lenses.
We love having both sets of lenses and have found very satisfying effects with both, but our choice would definitely be the Zeiss lenses for bokeh shots. If your interested in learning more or testing the differences in the bokeh from Zeiss to Canon email us at info (@) facetmedia dot com.
Last night (Saturday, June 13, 2015) during the busy Wynwood Art Walk, RED had the grand opening of their new Miami store. To kick off the event they invited local Red Owner/Operators from all over South Florida. It was awesome seeing so many RED owners from the REDuser.net online community in real life. We met local RED operators Frazier Nivens and Michael Hastings and many others from the forums. We were happy that we didn’t miss this event. It was a full catered affair with delicious refreshments, lots of drinks and a happy interactive crowd. On top of that we had Egon Stephan Jr, owner of CVT (CineVideoTech) on hand with a RED EPIC Dragon with Leica cinema lenses on an easy rig filming the event. It was awesome just holding that lens in my hand for a brief moment. The RED Store Miami also had the soon to be released Red Weapon Dragon with 6k sensor on an ARRI gear head in store to play with. It was awesome to get our hands on it.
I have to say a big THANK YOU to Freddy Rodriguez, the store manager, store staff, and also to CVTRUMBUM for providing the catering and epic event (no pun intended). CVT and RUM BUM have now partnered together and are now one of the premier rental houses and production companies in South Florida. I can only see the presence of RED in Miami with local production houses nearby as a big movement that will only enable the cinema culture to continue to grow. God knows its awesome to drive to Miami now to get small items like REDvolts, chargers, etc… instead of ordering it all the way from California and waiting days for it to arrive. Thank you RED for always looking to the future.
We often get asked by clients, whats the difference between the Canon 5D and RED EPIC? This simple test will at least show one main difference between the two cameras. That difference is how the RED protects highlights (bright areas of a scene) more due to a greater dynamic range of its sensor. Details in the shadows are also retained more. This is clearly evident in the exterior scene of the balcony in the frame grabs below and also also in the darker areas of the shadows.
Dynamic range is the difference between the lightest light and darkest dark which can be observed in a scene. Once your subject exceeds the camera’s dynamic range, the highlights wash out to white, or the darks become black blobs. Canon 5D has 11.8 stops of dynamic range… each stop doubles or halves the amount of light depending if the light is increasing or decreasing. The RED EPIC Dragon has 16.5 plus stops.
Canon 5D Mark III camera settings & config:
Canon 24mm prime lens at F5.6, ISO 250, shutter 1/400th, 5600k color temperature
RED EPIC Dragon camera settings & config:
Canon 24mm prime lens at F5.6, ISO 250, shutter 1/400th, 5600k color temperature, Dragon Color 2/RED Gamma4 (color science), Skintone OLPF
Time of day was around 2PM with approximately the same amount of cloud cover for each scene. Light source was one 1000 watt Tungsten, placed in the front to the side.
This is what I was expecting to see in the highlights. In the shadows you can see that the color science of the RED EPIC Dragon which defaults to DragonColor2/REDGamma4, presses the blacks down more. This test also gives a Director of Photography an idea what the minimum amount of lighting would take to brighten up the interior during a daytime scene. Considering that only one 1000 watt ARRI fresnel was used in this test… you are looking at least at a 1800 watt HMI to brighten the interior of the room while protecting the highlights of the exterior. Another trick would be to gel the windows. Since the glass sliding doors were opened halfway… on the tinted side to the right… you can see a comparison of how the scene would appear if the doors were closed and gelled to reduce the light.
If you’ve got questions or have a camera that you would like to compare to the RED EPIC Dragon… let us know and we’ll do another comparison. You can email info (a) facetmedia dot com.
Before we purchased the Zeiss Compact Prime CP.2 lens set we had RED Pro Primes which were all an aperture of T1.8. We decided to switch over to Zeiss Compact Primes due to the advantages of being much lighter weight, a faster aperture of T1.5, Canon EF mount for compatibility with so many DSLR cameras and full frame sensor coverage. The system also offers compatibility with PL, F, MFT and E mounts. This allows for easily switching on set between say a RED EPIC Dragon and a Canon 5D or a Blackmagic Cinema Camera. We love this versatility and it definitely comes in handy. It’s a fast lens set, great for any low light scenes and also cinematic shallow depth-of-field and provides complete coverage of full frame 24 x 36 size sensors. The lenses are also color-matched with the rest of the CP.2 lineup, and so swapping it with another from within the set can conveniently be done without correcting for changes in post.
The fully manual lens set is amazing for focus pullers that need precise focus measurement marks. The manual focusing ring is amazing with 300 degrees of rotation and measurement marks are well spaced. The front diameter is consistent across the lens set. Switching donuts is not necessary when changing lenses on your matte box. All lenses in the set have fourteen iris blades which gives a perfectly circular smooth bokeh. Also, the lens elements are aspherical with Zeiss T* coating and internal light traps that handles flaring exceptionally.
With the advancements of large sensor cameras such as the Vista Vision RED Weapon 8K about to hit the market at the end of the year… we are glad that we made the switch to a lens set with full frame coverage.
Included in the package are (1) SWIT Quad Charger for V-Mount batteries, (1) REDvolt Quad Charger, (1) DSMC Travel Charger for REDvolts, (1) Battery Belt Clip, (1) RED Cradle for V-Mount batteries, (4) REDBrick V-Mount batteries and (4) REDvolt batteries.
We know each scene usually requires different camera configurations… so we’ve built our camera package to run lightweight and also for heavier configurations. The lightweight configuration of the REDvolt batteries and fast quad charger will come in very handy for setups such as with the DJI Ronin, Movi and handheld operation. Also the battery belt clip allows you to displace the weight of the heavier brick batteries onto your waist, giving you a longer operating time of up to two hours.
Worrying about your batteries being charged shouldn’t preoccupy your mind on a set. That’s why we’ve came up with a fast charging solution and included quad chargers for both the REDvolt batteries and the brick v-mount batteries. These will charge the batteries simultaneously, keeping your production going nonstop.
Check out our new basic RED EPIC Dragon 6K camera rental package… which is not so basic after all when you consider all the goodies we’ve thrown in for free. We’ve added a Quad REDvolt charger as well as single travel charger and four REDvolt batteries, a Quad SWIT charger for v-mount batteries and four brick batteries, a DSMC battery belt clip, a Manfratto 526 35 pound weight capacity counter balance fluid head, RED DSMC Top Plate v2.0 as well as RED DSMC top mount for 19mm rails (your AC and steadicam operator will thank us for this top mount and top plate). It doesn’t stop there… you also get a RED Bomb EVF and a DSMC Quick Release system with 19mm rails (carbon and steel in different lengths).
We want to give everyone that rents from us a camera package that is solid in the field for an affordable price. Starting from the basic package you can rent our lenses individually or use your own. We also provide services to acquire any lenses you may need for both Canon EF mount or PL cinema mount.
The RED EPIC Dragon with a sensor that has 6k of resolution (6144 x 3160) is now available for rentals in South Florida. The camera can shoot an amazing 19 megapixels RAW per frame at up to 100 frames per second. The advances just doesn’t stop with resolution… it also captures 16.5 stops of dynamic range in a camera body that has a very light weight of 5 pounds. At 2k resolution it can shoot 300fps and at 4k 300fps.
We rent a RED EPIC Dragon package that comes with Zeiss Compact Primes CP2 Super Speeds that are T1.5 lenses and also an affordable Canon L lens package that has the best Canon still lenses such as the Canon 70-200mm f/2.8l, 85mm f/1.2, 50mm f/1.2 and 24mm f/1.4 lenses. Accessories include a Small HD AC7 7″ monitor OLED screen that is absolutely gorgeous with some of the best contrast range on a monitor… sure to impress any client on set. Another option is the lightweight RED Bomb Electronic View Finder for those sunny days where you want to eliminate glare when framing a shot.
Power options include lightweight REDVolt batteries or longer lasting V-lock Brick batteries. For the REDvolt batteries you can use a single battery in the side handle for the most light weight configuration. We also have quad battery modules that use four REDvolt batteries for uninterrupted all day shooting. The lightweight REDvolt batteries power the camera for roughly 30 minutes while the brick batteries power the camera for roughly 2 hours.
For more advance users, we also carry the Bright Tangerine Strummer DNA 4×5.65″ mattebox which is one of the best light control systems in the world. This mattebox system is highly customizable, very lightweight and allows you to switch from a three stage tray system for filters or a lighter weight two stage mattebox in just seconds. Additionally, cleaning the system in the field is much easier due to the click cassette tray system.
Paralinx Arrow Plus with Paralinx Shield protector available for rentals. Rental price is $100 per day.
The Arrow Plus multicast system combines all the features of the Arrow with the added ability to pair each transmitter with up to four receivers. Uncompressed 4:2:2 1920×1080 10-bit video. Less than 2 ms latency. Range of over 300ft line-of-sight. Runs on 5V power. Transmitter weighs less than 40 grams. HDMI input/output. FCC, CE, and ROHS certified. Plug and play–no set-up required.
Shooting green screen on the RED EPIC with Kino Flo 4×4 light banks, ARRI T1 1000 watt fresnels and ARRI M18 HMI lighting.
1. What color temperature lights are best to work with while shooting green screen on the RED EPIC
2. What iso setting and REDcode compression ratios to chose for optimal performance
3. Black calibration of the sensor: when/how to apply it and how long it takes.
4. 2k/3k sensor cropping on the RED EPIC and how it affects light setup, camera placement and studio choice
5. Shooting high speed on green screen and managing noise and low light due to higher shutter speeds
6. Light planning for different shooting scenarios
7. Ideal placement of talent on Chroma Key Green or Digital Green backdrops
8. How to solve noise issues while shooting with Tungsten light sources
9. Using a light meter to even out the light on the backdrop
10. Ideal diffusion gels for maximum light transmission
11. Chroma key pulling in After Effects, FCPX
Refreshments will be on hand.
This is a PAID meetup. Please contact Andrae Palmer at (954) 593-0411 or andrae at facetmedia dot com for other payment options if you don’t have a Paypal account.