They have 4-5 years to do it. After that RED is basically worthless in any case.

Sales pitch:

Ronin 4D is equipped with Zenmuse X9, DJI’s flagship full-frame camera. It also features DJI’s latest image processing system, CineCore 3.0. This system uses DJI’s proprietary chip to provide advanced processor architecture, offering extremely high-performance computing power in a compact cinema camera. CineCore 3.0 allows Ronin 4D to support internal recording of Apple ProRes RAW, ProRes 422 HQ, and H.264 video. It also supports up to 8K/75fps and 4K/120fps video recording, [3] delivering multiple options for professional-level creation.

Reality:

DJI Ronin 4D will no longer support Apple ProRes RAW internal recording from February 16, 2022.

A friendly reminder that the RED.com compressed RAW pantent will expire in 2028:

https://www.timeanddate.com/countdown/party?p0=840&iso=20280411T00&year=2028&month=4&day=11&hour=0&min=0&sec=0&msg=RED.com%20RAW%20patents%20expire&ud=2&csz=1

17+ steps DR range.

$80,000 for brand new camera body with this sensor

Trailer:

I also used a 5D Mark III with Magic Lantern for some Glidecam shots.

Here is a NoFilmSchool BTS write-up from many moons ago (when it was called SLEEPWALKERS): http://nofilmschool.com/2013/12/ryan-lightbourn-shot-feature-on-red-scarlet-bmpcc-5d-mark-iii

Just wanted to share the good news, these oldie but goodie cameras are still making moves.

Here's the link, http://www.academy.ca/2017/petrol/

Feel free to check out our series http://www.petroltheseries.com

or on YouTube

will this setup handle raw (red raw from scarlet-x) edit and full res playback in premiere pro cc or fcpx ? anybody using same or similiar setup ?

thank you

BLOG http://petroltheseries.com/?p=386

YouTube: www.youtube.com/petroltheseries

Very grateful to do a test with the world-famous filmmaker, Werner Herzog. He came down to my studio last week to do a quick test for his next film, "Untitiled Film About Death and Little People." Special thanks to the actors and the camera people - Nachiketa Amin, Phil Kibbe, and Carolina Ravassa and my producer Lily Henderson. Dedicated to the character development coaches I had - Chris Bagnall, Mariel Snynan, John Meese, Jaimie DeFina, and Sean Kennedy and my film school teacher who said, "Werner, you are never going to make it. Not with that facial hair." I graded DPX files 12 bit out of f35, redlogcine and reddragoncolor2, and BMD gamma from DB. My coloring job was lackluster, to say the least. Inconsistent. Digital Bolex fans - I'm sorry - I couldn't figure out how to make the footage not look terrible. I am sorry. I failed you. I am ready for you to tell me how I loaded in the footage wrong. That is okay. I make many mistakes in life.

I'd love to hear your thoughts! Please give it a like via vimeo if you err... like it!

I recommend listening with headphones!!!

Shot in one day on a RED EPIC DRAGON at 'The Big Drift', Wilson's Promontory National Park, Victoria, Australia.

Produced by Kat Mitropoulos (Full Stop Pictures)

Director - Peter Savieri.

Cinematography - Alex Cardy.

Steadicam - Glenn Clayton

Leica lenses - 35mm, 50mm and 90mm. Watch it in 1080P

DASH - 'Cautiously'

Our B Cam had the original Red handle bar grips only and those ones don't lock well, and slide around. These ones from camtree were rock solid the whole shoot, good build quality, light, and dependable. And the price was quite a bit lower than anything else I could find. Also they work for 15mm as well as 19mm rods. Check em out, definitely makes shooting handheld way easier... and as a bonus sometimes I was able to use it to shoot low level, on the ground type shots and could use the rosettes to adjust my level, like a mini tripod almost. Well worth the cost.

Anyone out there happen to have any dealings with them recently? Or possibly know of another place one could send a lens mount like this to get repaired?

Thanks guys!

The second part was recorded with Red Epic, Red Scarlet and GoPro HD Hero 3. But interesting all the work that's involved in the actual realization.

It is a mechanical two-axis gimbal intended for use with the Easyrig. It can hold rigs up to 16kg (!!!) and doesn't require any batteries.

There is one scratch on te outside (see photos) that doesn't affect the performance of the gimbal. During transport, I accidently locked the screw that locks the axis - never do that! The screw bend and scratched the surface of the metal. I didn't replace the screw because it is basically not necessary for operating it.

Flowcine just released on upgrade for the bearings on the handle. This is highly recommended it you want even smoother operation!

The reason I am selling it is that I happened to not invest into an Easyrig, which I planned on for this Spring. Unfortunately, I had to cut costs somehwere :-(

The retail price in Germany is around 2450 Euro excl. VAT. Incl. VAT is a bit more than 2900 Euro. http://www.toneart-shop.de/flowcine-gravity-one-black.html

I would like to ask 2100 Euro incl. VAT. I think this is very reasonable for this condition.

Item is located in Bremen, Germany. Shipping not incl.

http://songwriter.revimage.com/channels/JoannaStClaire

If the music video wins for Joanna, it means a chance to work with Don Was (one of the most prolific and acclaimed producers out there) and money to help create additional music. She spent years on the album this video comes from and is an incredibly warm and talented person, so your help would be really appreciated by both of us.

Now here's some more text for everyone else about a project I worked on at various points from 2007 to last week. :)

Quick intro: I'm Per Lichtman, the guy that found the audio settings values now used in the majority of modern GH2 hacked settings, thanks to @Vitaliy_Kiselev making it possible to test and modify them. I've also participated in a lot settings comparison tests and talked way too much over the years. :)

Last year I directed a music video for a song I also worked heavily on the music side with. It was called "Listen to the Sound" by Joanna St. Claire and it finally got put up at http://songwriter.revimage.com/channels/JoannaStClaire in conjunction with a contest Joanna St. Claire recently entered. I wanted to help her out in the contest and share some of my experiences with the GH2 community at the same time.

The video is shot using a mixture of GH2 with the Driftwood Canis Majoris Night settings, as well as a RED Scarlet and Cooke lens courtesy of OnTheMarkMedia.net. There are also one or two shots with a Canon HV30.

The grading was done by Dimitrios Papagiannis ( @Bueller) in DaVinci Resolve using the Cineform codec as a digital intermediate. Ashley Nunn and Karla Usagi provided additional support carrying things as well as behind the scenes photography for one or two of the days. In other words, shooting often consisted of just me and the artist.

The shoot was done entirely using natural light, without reflectors or any other aids, on an extremely tight schedule and filmed almost entirely around sunset over the course of multiple days. The shots featuring water were done in a region where there is not normally a body of water: it was there for the first time in about a decade due to unusually high level of precipitation. The lake evaporated in a matter of weeks.

The lenses used on the GH2 were a Rokkor Minolta-mount 58mm f/1.4 and a Tokina 28mm Minolta-mount f/2.8. Various Tiffen contrast filters were used at certain point on the GH2. To the best of my memory, no filters were used on the Cooke lens for the Scarlet.

I will be posting more information (such as which shots are which) depending on what the interest level warrants.

The re-mastered album that the video goes with is "Stream HD Master", which we recently released in full-fidelity 96 KHz at 24-bit depth dynamic range. You can find it at https://joannastclaire.bandcamp.com/

It's been one of my favorite musical experiences so far. It also one of the ones were I've worn the most hats (recording engineer, mixing engineer, mastering engineer, creative consultant, album cover photographer, music video director, editor, etc.) that I can think of so far. :)

I bought a BT Red One MX and shot this TV show trailer which got sponsored after by Toyota/Scion.

We used hacked GH2 and GH1 cameras through out, see if you can tell where - although I'm sure you'll be able to pick out the obvious ones. 3 person crew mostly, mad low budget and a lot of time and care went into it.

Which music works best with the trailer... version 1 or 2?

We are trying to get as many YouTube hits as possible before approaching a few networks and FX Canada,

Thanks!

Just wanted to show you my latest work. A short film which I edited and graded.

If you want to read more about the editing and grading you can visit this blogpost in which I've explained everything a bit further: http://davidhjlindberg.blogspot.se/2013/04/the-road-of-life.html

The Road of Life

The Road of Life - Grading Breakdown

The RED MOTION mount not only incorporates an integrated 8x Electronic ND filter in adjustable 1/100 stop granularity, but also overtakes the sensors timing to give you a true global shutter. All integrated and controlled by the camera UI. Eliminates Shutter Judder and defeats spatial aliasing.

You really need to come by the booth and see this one working.

$4500. Shipping Fall.

http://www.reduser.net/forum/showthread.php?97868-NAB13-RED-MOTION-MOUNT&p=1180917#post1180917

Currently we are using Apocalypse Now 444, soft matrix.

No specs on Nauticam housing but just some photos and a nice video of setup and using. It cost about 10k euro :)

Now you can find out what cameras, what lenses, etc were used to shoot certain films, also if they were strictly DI, or transferred to film for their final master/negative.

Very interesting to see what lenses were used on certain films. I wish they had more details, such as which camera used which lenses when listing the cameras.

I just received my Red 17-50mm Prime lens i am now waiting for the adapter to fully test it on the GH2