Fine Art Photography Weekly with Peter Urban

How many films have been shot on the Red One? I hope they succeed and think they will succeed.

I think a factor in Betamax failure was the onerous licensing terms Sony imposed. The same thing is happening with Blu-ray. Do any of your guests have any experience with trying to publish on Blu-ray … not just burned but professional pressing with full licensing.

RedRocked gives you real time processing of red code raw.

Isn’t it true that a parfocal, servo-zoom lens which can cover a sensor larger than 2/3" is likely to be very, very expensive? So, for much ENG and run & gun, small-sensor lenses will continue to have the advantage of relatively less-expensive parfocal servo-zoom lenses. Unless there’s a major lens price/performance breakthrough in near future.

For both guests what is your favourite convergence camera?

RED has only 1 shipping camera. Everything else is vaporware, brochures & 3D renderings.

Having said that, there’s nothing wrong with having a small percentage of the overall market. For example, BMW sells a tiny fraction of the number of cars that Ford does.

RED can continue to do well if they stay on track a ship great cameras.

You speak of camera crippling as a marketing technique. Is that why you think the latest Panasonic AF 100 and Sony F3 cameras have unusable viewfinders for HD work?

Funny statement about the Scarlet/iPhone but very untrue. Name one other camera that can shoot raw video footage?

When are one of these dslr cameras going to get follow focus right

Jem – would you consider these ‘shorts’ that people are putting together fine art cinematography or is there another term?

No, the new GH2 is the no-brainer “DSLR”.

Little or moire & aliasing, doesn’t overheat, easily adapted to almost all lenses (including cine lenses), high-quality 1080p24 codec, high-quality live view (LCD and EVF), live 1080p24 HDMI output, “cinema crop factor”& DOF (x1.18), stereo mic inputs w. level control, distortion-free HD video 2.6x sensor cropping, and much more.

The AF100 & GH2 M43 crop factor, compared to Academy format 35mm motion picture film is 1.18, not 2. So the angle of view & DOF characteristics of these cams is almost the same as standard 35mm motion picture film.

Sure, compared to FF 35mm still frame they have a x2 crop, but cinematographers compare to motion picture film angle of view, not the FF still camera format.

Things are changing very, very fast.

For example, the new DMC-GH2 is a very inexpensive camera body (<$800 US), but produces very nice-looking 1080p24 video. See Philip Bloom’s latest video, shot using the Voight. 25mm f.95 lens:
http://vimeo.com/17062701

However, think what “DSLR” cams will be capable of in the next 3-12 months. 1080p60, 10-bit 4:2:2 HDMI out, etc.!

The new Red HDRx gives us about 17 stops of latitude. Do you think that will make shooting indy films easier because lighting won’t be quite as difficult?

What do you think about Cineform codecs including Cineform Raw?

Red has raw post handled with the RedRocket.

Relatively inexpensive portable external HD-SDI & HDMI video records like the AJA KiPro Mini, Atomos Ninja, and nanoFlash change everything. They free producers from the limitations of cameras’ built-in codecs.

Shooters can swap-out camera bodies per project, and month after month, and year after year, but can use 1 external recorder with a high-quality codec (such as ProRes 422 or 444, etc.) with all of them.