Posts Tagged ‘scarlet

21
Aug
15

Littekens (“Scars”) feature film

Meanwhile, our feature film Littekens (“Scars”, Director: Martin Beek) – shot on Red Scarlet & Canon glass – has been doing well in Asia (Hong Kong), Washington and will feature at the West Virginia Filmmakers Festival next month.

Littekens scars nominated selected official selection film festival international thriller martin beek marvels Littekens scars nominated selected official selection film festival international thriller martin beek marvels Littekens scars nominated selected official selection film festival international thriller martin beek marvels

And with that event, the festival season is over for Littekens and we’ll start focusing on further distribution! Keep an eye out for Littekens!

Meanwhile, if you want to see the full movie now, it’s available on Vimeo on Demand here: https://vimeo.com/ondemand/littekens (with trailer and English subs).

Movie film feature Littekens scars nominated selected official selection film festival international thriller martin beek marvels

Website: http://littekensfilm.nl (Dutch)
IMDb: http://www.imdb.com/title/tt2748180/
Vimeo page with trailer: https://vimeo.com/ondemand/littekens
Facebook (English) page: https://www.facebook.com/littekens
Facebook (Dutch) page: https://www.facebook.com/littekensfilm.nl

25
Oct
14

I downgraded from Red Scarlet MX to Blackmagic Production Camera, but it feels like an upgrade!

Martin Beek https://livecrew.nl I’ve thought long and hard about my next move, camera-wise. My Red Scarlet MX was eligible for upgrading to an Epic for 9000US$, or upgrading to a Scarlet Dragon for 9500US$. I paid a small fortune for my Scarlet and adding another 9 grand meant that i could’ve better bought an Epic in the first place. IMHO, not much of a deal or “gesture” to Scarlet owners.

I decided eventually to sell the Scarlet now it’s still worth a few bucks. Emphasizing on “a few”.
I had to let it go a few weeks ago for 7200 euros including a cage, Redmote, two 64gb SSDs, 5″ LCD, sideSSD, etc.; the complete scarlet package plus tophandle and cage. That amount of money is peanuts, but hey, you know that it devaluates starting day one.

I decided to “downgrade” to a 3000US$ Blackmagic production camera, forMartin Beek https://livecrew.nl https://livecrew.nl/martinbeek having a camera around the place and have something to play with during the fall and winter. Bought myself a great Sigma 18-35 1.8 zoom and a cage with handles plus three 500GB SSDs. Still had enough money left to buy some extra audio gear, Vmount batteries and pay a few months of mortgage for the house! 😉

I thought i’d bought Martin’s next plaything and considered it to be a downgrade just to please my desire to own a camera.
I was almost shocked to learn that the 3000$ silly looking package produced way sharper and detailed images that my Red scarlet ever did! It has roughly the same dynamic range and s/n ratio, but seems to reveal much more micro-detail instead of bags of noise when blowing images up to 200%. VERY VERY IMPRESSIVE!

https://livecrew.nl/martinbeek Martin Beek https://livecrew.nl I shoot 24p exclusively in 4K on any camera – i rent highspeed cameras when i need them. So the Blackmagic production camera is a gift from heaven to indie filmmakers. For the price of renting a Red (don’t you ever think of buying one!) you can buy two or three BMPCs !!!  And, just to make this clear, i am not paid of sponsored by BM to tell you this! 😉

I’ll definitely shoot my next feature on multiple BMPCs, i swear!

Cons?

  • It needs bags of light (so buy a speedbooster or <=1.8 lens)
  • 400 ASA natively: use a ND filter and don’t switch to 200ASA (limiting DR)
  • 800 ASA is too noisy, just stick with the 400 ASA and crank the exposure up in post; it’ll look great!
  • No white balance. Just a range of Kelvins to choose from. Shoot a color card or WB card and adjust in post.
  • Internal battery wears down just below one hour. Buy one medium sized Vmount battery and you’re good for hours.
  • The BM CINEMADNG Raw codec is HUGE and will slurp your precious SSD gigabytes before you know it.
    BM HAS to device a way to adjust the compression level of the codec or come-up with something new, because this data-rate is outrageous. Recording just 12 minutes on a 500GB ssd is something i can NOT live with. Imagine shooting a feature film with this… My storage and backup costs would go through the roof! The Red Scarlet recorded 34 minutes of full 4K with low compression (1:6) on a 64GB ssd !

DSC_0133Pros?

  • Lightweight form factor, though very well build metal design – feels solid
  • Record prores and raw (Cinema DNG)
  • Super 35mm large sensor, great filmic shallow DOF with the right lenses
  • Comes with a fully licensed version of DaVinci Resolve (including dongle)!
  • Very nice skin color representation and silky smooth light transitions (just a personal / subjective opinion)
  • Low (audible) noise
  • full Canon EF lens communication and LANC (BeBop lanc controller will even control focus)
  • 4K SDI out
  • 12-35 volt input, so hookup any juice that doesn’t kill you 😉
  • Easy operation, easy menu’s

DSC_0130

My next project… Taking a scene shot with my Scarlet, and repeating it with the same lens on the same location and under the same lighting conditions and show you the difference!
Shooting some hi-contrast winter footage with the BMPC!

Cheers!
Martin.

27
Jan
13

Littekens (“scars”) teaser one of four

This is teaser one, of four, of my new Dutch feature film  Littekens (English: Scars). The four teasers will form the complete trailer in april.

Littekens (Scars) (fall 2013):

In her search for her biological father, after a long journey eastbound, Suzanne discovers a shrouded and horrifying part of her own past, that turns her greatest dream into a dark nightmare.
Check http://www.littekensfilm.nl and (please) like http://www.facebook.com/littekensfilm.nl

Cheers!
Martin

05
Dec
12

Jim Jannard says… Red vs Film

 The Lord of the Rings Trilogy was shot on film by Peter Jackson. He shot 7 million feet of film for all three features…

Peter has now shot The Hobbit on RED EPICs in 3D. It is the film equivalent to 27 million feet of film. And he is not done shooting. 27 million feet of film would weigh approximately 67,500 tons.

Some RED SSDs were used over 1000 times. We know because the production complained that our counters only went to 999. We fixed that. Interesting facts.

Who knows what this means. :-)

Jim
Further reading: Film vs. Red

24
Jul
12

Building a heavy slider for Red with “RigWheels” and “CamOnWheels” parts

Red Scarlet hihat slider using rigwheelsWhen looking for suitable skateboard wheels for a heavy duty slider for my Red Scarlet camera, i stumbled upon the www.rigwheels.com website. They sell small wheel assemblies that can be mounted on (under) almost anything to get things moving… So, i was blinded by the great looking website and neatly produced demo videos and was lured into buying a set of Rigwheels for 130 dollars.

Rigwheels claims to specially manufacture these wheels (with high quality bearings), but alas…, the Rigwheels are nothing more than very cheap runners (with very cheap and noisy bearings) meant for sliding doors – your Ikea bedroom wardrobe is probably equipped with “Rigwheels”. They are not really wheels, but cheap plastic-coated ball bearings.

Never the less, i used the 5 times over-priced Rigwheels to construct a PVC pipe dolly by just putting them under a square piece of MDF furniture plank. I tried to run them on PVC pipes and on metal heating pipes as shown in the picture.

 

Conclusion: Rigwheels are not fit for slider use, and i feel ripped off!

  • They are extremely and unacceptably noisy on any surface
  • Bearings are of the cheapest chinese manufacture (not sealed, noisy, open for dust, plastic closures)
  • Website suggests that noise can be reduced by treating the rails, which is nonsense
  • The “wheels” do not run smoothly at all
  • Again -> the noise is unacceptable when recording live sound

Here is a little video my camera operator Roland Jacobs shot yesterday, with the Rigwheels rockin’ their socks of – AGAIN:  using pvc pipes or even wooden broom sticks do not change the loud noise (much).

After having recovered from the first shock, i replaced the Rigwheels with a frame with skateboard wheels, which is a little more work, cheaper, smoother and operates noiseless. There are many videos on YouTube that show you how to build something useful with skateboard wheels. Such as this classic one: http://www.youtube.com/watch?v=3Ua_MDnlTXY 

But, for a slider, a frame with skateboard wheels is too bulky to my taste, so i didn’t despair and Googled for “diy camera slider wheels” searching for a better Rigwheels alternative, and found http://www.camonwheels.com 

Cam On Wheels offers a Rigwheels alternative at half the price. For $50, they provide much better “runners” with better grade bearings (real Abec-grade bearings) with a softer rubber coating. These are far less noisy than the Rigwheels and look more professional too. The CamOnWheels CW2 wheels run smoothly on any surface, so your slider top can also be used as a tabletop dolly.

I used the Manfrotto HiHat to hold my fluid head, just screwed it on a piece of MDF board, screwed the CamOnWheels CW2 wheels on and rode them on the metal pipes. Far less noise than with the RigWheels and much smoother operation.

I’ll try to post a video of the final product soon.

 

Final conclusion: If you need to use small wheels for a slider or tabletop dolly, go for CamOnWheels. If you want to build a PVC pipe dolly that doesn’t need to be elegant, go for skateboard wheels. 

 

Cheers!
Martin.

04
May
12

Free RedCine-X Film Look for Scarlet and Epic

I’ve finally decided on a look for our interior shots, for the feature i’m working on at the moment. A look for on-set preview and a good base for the style and look we’re after in post; inspired by the (in-)famous orange and teal look (Tony Scott and others). I hold back on the exaggerated orange skin look. Blacks are black, but low-midtones and shadows will appear teal. I personally don’t expose to the right (ETR) but expose skin @ around 50%, since we have controlled lighting on the set. If you shoot ETR or on maximum sensor exposure, adjust the Shadow and Mid Gamma Raise controls in RedCine-X, or adjust the FLUT value. The look uses three different curves for R,G and B. Touch the latter and you’re on your own… 😉

The pictures below are not the best demo, but apply it to your own footage, play with it and feel invited to discuss and/or upload your variation on this theme.

I show you before and after pictures, but don’t forget that the source is a 4K raw image that can look like anything “before”. Click on the images for the full 4K picture, although with 80% JPG compression. You can download the RedCine look file below.

Before… 4K@24fps 35mm@f4 Redcolor-3 Redgamma-3

After… Orange and Teal. Exposed skin @50% avg, 60% max peak

You can download this RMD file for free here: http://mediatube.marvelsfilm.com/METERED_ORANGETEAL.RMD

You can use this file to import in RedCine-X Pro (download free from Red.com) or put it on your SSD and import it into your Scarlet-X or Epic camera.
Cheers!

Martin Beek

15
Apr
12

What i love about my Red Scarlet-X

Wel… absolutely everything, but it’s ultra configurability for sure!
Take a box of old and new rig parts, a screwdriver and a hex key, and build a whole different camera 😉
Oh yeah.. also giving all your savings money to Red.com helps…

Red Scarlet camera Martin Beek Littekens Film

14
Nov
11

Scarlet users of the world unite!

www.scarleteer.com community for red scarlet usersYet another Red Camera targeted community site? Yes!
If you use, own, love or envy the Red Scarlet digital cinema camera, and want to share your experiences, footage, looks and/or frustrations; you’ve come to the right place at http://www.scarleteer.com ! Get answers on your questions from other Scarlet users and share your knowledge of digital filmmaking.

We need your help; your input, stories, footage, pictures, experiences, LUTs, looks, adventures and frustrations…
Start posting, start adding content and make this site a success! 

Scarleteer.com is a non-profit, no banners community and is not connected or affiliated in any way with the Red Camera corporation. All opinions, views and discussions ventilated on this site are not necessarily those of the Red Camera Co.

See you at scarleteer.com!

18
Feb
11

Questions about the elusive Cinema Film Look

I receive questions from people all over the world regarding Film Look and Cine Style shooting on almost a daily basis. What people are trying to achieve, is to match their prosumer camera’s image, with what their eyes are seeing on the big screen (let’s call it that for now – you might say “Hollywood movies” or “Blockbusters”…).

Here is what i have to say to those people. It’s a kind of mash-up of the many email answers i’ve sent and replies i’ve given on this blog.

The part below starts with a reply to a question about making a “Red” picture style for Canon DSLR cameras, that i’ve left in place here.

First, footage directly out of the RED is Raw and looks very flat and desaturated; it will most certainly not look cinematic or specifically “Film Look” at first sight. The footage will be graded to the colorgrader’s personal taste and he can make it look more like film, or even look like cheap video. I have seen a LOT of Red footage that didn’t have the Cinema Film Look at all! So, getting back to your question, you could also say that you want to copy/import the looks of other footage in general. E.g. Avatar. I’ll get back to that later.
Here we come to point two; how do you define Cinema Film Look ?! That’s a very subjective and personal experience. Factors such as shallow depth of field, crushed blacks, nicely roll-off of whites, soft edges but also sharp at the same time, and a certain specific coloration can be named, but each of them might be valued or applied different by YOU.

But let’s get down to earth for a moment… Watched a movie (film) in the cinema lately? Seen the HUGE amount of grain, chromatic abberiation, optical distortion, greenish blacks, flicker, scratches, out of focus, gate movement… et cetera? Is THAT what you are referring to as the Cinema Film Look!? I hope not…

So we have created a whole new idea in our mind, of what the elusive Cinema Look is! Almost a virtual unexplainable awareness of something that does not exist! Or at least something not two people will have the same idea about. It’s 100% perceptual and therefore very hard to explain in our language (which is designed for telling other monkeys where the ripe fruit is). We can agree about the shallow DOF, but the rest is really elusive, intangible. Beauty is indeed in the eye of the beholder…

Watch a Tony Scott movie (“The taking of Pelham 1,2,3”, or “Unstoppable”). If you’d come up with THAT look twenty-five years ago, you’d probably would’ve been declared mad.

Let’s look at Avatar. It’s VERY digital. Everything is crispy crispy sharp. Pores of actor’s faces can be explorer in-depth. But shallow depth? Not really.., at least not exaggerated (DOF is not the friend of special effects people / image composers). Crushed, rich blacks? Not really… Does Avatar look cinematic to you? It certainly does to me! I was blown of my seat when i watched it on the big screen, although i must admit that it has a certain electronic look on my home plasma, on Bluray.

Nevertheless… there must be factors present in less “cine style” movies like avatar that appeal to us. Most of them are indeed hard to explain in normal language, and the others may include the huge color and luminance dynamic range (latitude), the high quality optics that are used, very professional lighting, top-notch camera and production crew, and a whole battalion of digital post processing wizards using equipment and software we will probably never even get to see.

I’ve read somewhere that the costs of Cameron’s 3D cameras, rigs and special monitoring did not even consume 5% of the film’s budget. So, after watching the movie, you can probably imagine where the other 95% went…
I’m sure that color grading and other digital postprocessing of some “Hollywood” movies exceeds the costs of camera rentals and operators, including the DP’s salary.

Avatar is just a extreme example here. If you look at The Social Network, which is a typical Red digital movie, it’s hard to tell if it’s film or digital, if you watch it at home. It surely has the “cinema film look”.

The Tony Scott look has inspired hundreds of filmmakers to use that same “orange and teal” look (Google on that…). It seems to hit a specific neuron in the human brain nowadays, that says “Hey! I’m looking at a blockbuster movie here, and no mistake!”. So why not jump on the bandwagon and buy that Mojo filter from RedBullet and start grading all your footage like Tony does?! Make use of that Blockbuster Neuron!

But seriously, in other words, make use of people’s conception of the Cinema Film Look. But be warned… It might change overnight…
Philip Bloom has shown us how to get tremendous film-like images out of sub-2k$ cameras. It’s all down to shallow depth of field here. Many people followed his example and are now shooting “film” with DSLR cameras. Don’t forget that Philip is a great fan of the shallow depth of field look!

Apart from being pestered with tons of shaky, badly focussed, too shallow DOF footage on the web and even on TV, we’ve also seen beautiful DSLR movies from people that really know what they’re doing, like Philip, Vincent Laforett and many others.
Mind you… those same people would probably also make beautiful stuff with a $400 sony HD handycam as with a Red One…

Still not answered your question, haven’t i?!  Well. To make a long story even longer; it is very very difficult to – as you say it – tricking the colors to be registered in the camera in such a way they mimic the looks of other footage. There are two main factors at play. First, all the footage you probably have in mind to mimic, is shot in a different colorspace and using more bits per pixel. Second, we can only adjust overall R,G,B and luminance of the Canon DSLR cameras, thus doing a primitive primary color correction. So, secondary color correction and all the 101 filters, plugins and tricks the pros use to get to the look you are trying to mimic is out of the question. I think that you might be able to compose the Tony Scott “Orange and Teal” look for a specific shot with your Canon DSLR, but you’ll need studio conditions and lot of time on your hands. But there it stops. Orange and teal is (roughly speaking) remapping of colors in lookup tables, but masking parts of the image, or coloring parts of an image can’t be done on set, or in-camera.
So… Shoot flat, like a Red (rime not intended…)!
Ever seen a 35mm production film-negative? It’s dull and flat and low on saturation… It’s often a bit reddish.

Give the camera the chance to register as much light values as possible, do not over saturate and worry about the looks in post. Get your white balance perfectly allright though.

Download our Marvels Cine Picture Style for Canon DSLR cameras from this link and start shooting! There are several feature films in the making using the Canon 5DMK2, and several TV series (that i’m not allowed to name here…) that are using our new Marvels 3.4 style.

Cheers!

Martin.

17
Feb
11

WOW! Now available: DSLR anti-moire filter for FCP! Free download!

This guy never seizes to amaze me!!! (three exclamation marks)

Jorgen Escher has released his DSLR anti-moire filter plugin for Final Cut Pro within 48 hours after me writing him about my recent micro-moire problems.

This is revolutionary! This valuable and amazing piece of work has LITERALLY saved me a LOT of money AND my a*se! I can’t tell you how happy i am after running my recent test footage through this filter. Phew… relieved…!

Read about (and download) this new plugin from Jorgen’s blog at http://colorbyjorg.wordpress.com

He is giving it away for free – nada -, but there is a 10 dollar donation button on the page; i say: use it! It’s worth the ten bucks! If it would’ve cost a 100 bucks, i’d bought it without hesitation!

Martin.




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