We now have the Sony Alpha a7S II that shoots 4k internally with great low light capability and high dynamic range of 14 stops. Camera comes with the Metabones IV adapter to allow usage of Canon EF mounted lenses. Canon 5D Mark III package is also still available with battery grip. We also have the Zoom H4n audio recorder, Rode VideoMic, Sennheiser wireless lavaliers, Pocket Wizard for wirelessly triggering strobes, SmallHD AC7-OLED monitor, Tiffen ND variable filer and Tiffen circular polarizer. For lenses we have the Zeiss Compact Prime CP2 Super Speed cinema lenses and also Canon 24mm f/1.4L, 50mm f/1.2L, 85mm f/1.2L and 70-200mm f/2.8L.
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.
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.
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.
We were honored to have Wyclef and Sandro Martelly aka T-Micky (son of the president of Haiit) in FACETMEDIA studio for the “Nou Pare” music video directed by Max Sainvil from NY. Shot on RED EPIC with Zeiss CP.2 Super Speed lenses on Friday March 28th, 2014.
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.
Just landed is our new EZ Head RPT 25 motorized remote pan/tilt from EZ FX based in Ocoee, Florida. The EZ Head RPT 25 can carry a camera weight of upto 25 pounds. What we like about this remote head is the ability for it to be converted into a revolving turntable for product shots. The motors and joystick from the EZ Head RPT 25 can also be used on the soon to be released EZ FX Slider that has gearing for automated movement. Other cool features is the auto calibration of the joystick that takes four seconds, ramping speed function, direction switches for both pan & tilt and low clearance of the camera platform with very little protrusion below.
The remote head alone is now available separately for rentals in South Florida for $180 per day and $540 per week. A full working package is available for $420 per day or $1260 per week that includes the EZ FX Jib with Extension Kit, Heavy Duty pedestal with dolly wheels and EZ FX remote head. We also have experienced Jib operators available that can safely and quickly build the system and operate it with precision throughout your shoot.
Feel free to arrange a demo of the jib by contacting Andrae Palmer at (954) 593-0411 or email andrae at facetmedia dot com.
Inner Circle featuring Ñengo Flow and Flo Rida “Fall In Love” music video shoot on October 28th, 2013. Directed by Dimi Bones. Stephen Brevig Director of Photography. Shot at FACETMEDIA studios in Hollywood, FL. FACETMEDIA provided DIT & Grip service, RED EPIC camera, Zeiss Compact Prime CP.2 Super Speed lenses, Dana Dolly, EZ FX Jib with Extension Kit, Kino Flo, ARRI M18 HMI and ARRI T1 Fresnels.