Unbelievable: Old Camera Outshines New Models | Adventures In Filmmaking EP 2
ฝัง
- เผยแพร่เมื่อ 20 ต.ค. 2024
- In this episode of Adventures In Filmmaking, film and television director Shaun Paul Piccinino reviews an older camera that still competes and in some ways outshines the latest camera models. The real kicker here is that this mystery cinema camera is now so cheap on the used marked it's practically free! (not really, but you get the idea)
Shaun explores the films shot on this camera like, "The Martian", "Gone Girl", "Straight Out Of Compton", "10 Cloverfield Lane" and television series like, "Stranger Things" and "Mr. Robot"! He also delves into what still makes this camera a valid tool in today's filmmaking landscape and why some of it's features actually outshine many of the most advanced and new cinema cameras out today.
0:20 Welcome to episode 2
0:47 Rewind back the clock
0:57 Full on meltdown
1:41 A camera that transends space and time
2:10 Still great
3:07 Work history
4:19 Specs
5:46 Enough with the pros, let's here some cons
8:01 Wrap it up!
#AdventuresInFilmmaking #oldcamera #redepicdragon #arrialexa #directorshaunpiccinio #shaunpaulpiccinino #cinematography #camerareviews #filmgearreviews #cameratutorial #filmmaker #themartian #strangerthings
As a owner of this camera for an actual decade, I can say the proof is in the pudding. What matters is what ends up on the screen and the Dragon sensor has repeatedly created amazing images on amazing shows that you've pointed out. The sensor was so popular that they brought it back and put it into the DSMC2 line and those bodies are going pretty inexpensively in comparison as well. I know people in the comments are talking about specs, and that's fine. But specs don't make art, artist do. Go watch Shaun's films, he's and artist and he knows what he's talking about.
@@adambeck6734 Adam you’re so right and the end result is the point. And I love your comment on art. That is absolutely 100% the truth.
@@piccininopictures It takes about 10 hours of work to make a custom storage card that clips into the current Red storage socket and has a USB 3.1 port that goes out to an on-the-back-racked storage container that cages STANDARD 20 Terabyte 3.5 Inch Spinning Hard Drives box similar to a V-Lock Anton Bauer battery system to give you hours and hours of FULL 16-bits per channel RAW image quality!
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Was a blast making the video and I do love this camera!!!
The 5k mx sensor is still one of my favorites. Older camera sensors were doing their best to emulate film where as newer cameras are chasing technical perfection.
Obviously both approaches have benefits and modern cameras are objectively better, but some of the magic in how older cameras render motion has really been lost.
Yes totally agree 🙌 There’s of course pluses and minuses to to both old and new 😊 But there is that intangible thing about these older sensors I really love. Just as 35mm film is also in many way inferior to modern cameras but still such an organic and nostalgic feeling to it.
RED do not have a patent on RAW video nor did it create it, it simply has a patent on Compressed Raw in Camera. True raw is a codec like cDNG which is basically just a sequence of Raw stills and as you can imagine, heinously heavy on the data.
The reason why companies like Blackmagic and the like can get around RED patent, is that uncompressed or partially compressed seem to avoid principle entanglement with RED. BRAW does a partial debayer in-camera, which seems to be enough to get around the patent.
Ok, so if I take a RAW video file and compress it with ZIP, I'm basicly infringing on their patent. Got it!
@@profitusmaximus3974 Don't be a melon. "Compressed Raw ***in Camera***" is what's written there.
@@alanlavery Why does it matter whether the zipping happens by a library API call within the hardware of the camera or any place else? There are plenty of open libraries that allows you to compress just about anything on the fly or after the fact and it has been the case at least since the '90s.
In my case, I would RATHER HAVE TRUE UNCOMPRESSED FULL-RAW VIDEO (i.e. 64-bits RGBA at 16-bits per RGBA channel) so that my editing system can show the VERY BEST QUALITY POSSIBLE! I have been able FOR MOST CINEMA CAMERAS to simply use the internal sensor chip connectors (if you are willing to solder some in-between-connector wires!) to stream a live full-raw video image to a Hard Drive Cage I made out of an old 4-Drive USB-3 drive array box that has the same Anton-Bauer V-Lock Battery connectors that I use as my camera batteries!
I fit FOUR of the 20 Terabyte Seagate Wolfpack pro-video-level hard drives in that drive array box (via the V-lock connector!) so I get 80 Terabytes of storage space. At DCI-4K (4096 by 2160 pixels at 1.89:1 aspect ratio) at 120 fps (8,493,465,600 Bytes or 8.39 Gigabytes per second), I have to do a custom directly-soldered on-PCB-sensor-connection in order to get the UNBAYERED FULL RAW imagery out to the hard drives FAST ENOUGH (8.4 Gigabytes per second data rate) by INTERLEAVING the drives into a RAID-X configuration! Of course, MOST people won't goto my extremes BUT then again, I happen to LIKE voiding my camera warranties!
I'm going to do that to the latest Canon R5-Mk2 which has DCI-8k resolution (i.e. 8192 by 4320 pixels) at 14 bits internal at it's maximum possible 60 fps which gives me a 29,727,129,600 bytes per second data rate (29.73 Gigabytes per Second!) so I need to use EIGHT of the 20 Terabyte Hard Drives put into a V-Lock drive array cage all Interleaved in order to save the full RAW DCI-8K imagery! My post-production and editing workstation EASILY handles that data rate at FULL RAW since I am using a DUAL CPU AMD EPYC 192-Core processor system.
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@@StarGateSG7 Lossless compression doesn't impact quality. Lossy does so but lossless no.
Fantastic video as always! And yes we agree, that's a really great camera still!!!
I picked up a epic dragon 6k for less than 2k a few months back. Beautiful sensor.
@@shotbybonham2761 that’s such an amazing deal 🙌
More old gear and vintage lenses please. This was great. New sub👊
@@junglisttt Roger that! & Thanks for the sub 🙌
I shot hundreds of Motion Control/National Food Commercials and a Feature Documentary on my RED Epic Dragon, loved that camera- replaced it with the RED Gemini. The R3D negative is my absolute favorite to work with too.
@@TH-cam_can_ESAD love the Gemini too! Dual native ISO on that camera is such a great tool
Another great video and learned a lot about this cool camera! Didn't realize all the movies and shows that were shot on it.
Great videos and channel, keep up the good work!
Gemini is the best dsmc2 camera... I just wish they were not so dang heavy... but the noise and the ll mode on the Gemini with its still IMPRESSIVE pixel pitch you can easily lift shadows... and LL mode means Slow motion without massive lighting changes... plus the color leans VERY close to Alev Sensors NOt Magenta like my Dragon did... Only the newest Vraptor X really tops it but I love the look of Gemini and 5k is a very easy resolution to start from. My opinion but I have owned a Scarlet W 5k as well and Gemini still spanks it.
I’ve used the Gemini on many of my films as well. I really love the dual native ISO on that camera for sure.
nice video. I'm definitely a fan of the RED "look" ... I've been thinking about getting a used Monstro
@@AlexDerrick_DP that’s a great sensor for sure 🙌
I have a Red epic Dragon!!! I love it ❤
Awesome video! Thanks for sharing
@@andrewkoponen3031 thanks so much brother 🙌
Old cameras often use vintage techniques or special lenses, giving a unique style and feel to the image.
I've got the RED Komodo and love that thing to death
Komodo is a great camera and such a portable size too! What do you shoot most on yours?
I’ve got the Ursa G2 + the Komodo OG and also love them to death!
@@JS_Leger I’ve owned a lot of the Blackmagic cameras over the years and used them a lot as well. I also really enjoy and appreciate the company in general :)
Subbed, you American weirdo. Keep making this stuff, cheers!
Haha thanks so much :) and yep, total dork over here!
@@piccininopicturesDon’t let a Frenchman talk to you like that
Awesome video! Sub $3k prices almost seem worth it just to experiment with.
@@davidmorefield yep got me to buy my own and I’ve been super happy with it. I’ve used this camera plenty in the past but never owned my own personal one, until now.
It’s still so good. I’ve been spoiled by the quality of life features on my FX6s, but I miss making movies with the old Dragon
@@frannyfranman yes for live situations the FX6’s for sure have some good advantages and that’s also a super solid camera!
Red did not invent raw. Maybe redcode raw, but as far as cinema DNG? That was Adobe.
@@earnieboy54 yes I should have been more specific. I believe their patent was raw images in sequence inside of a camera. But raw video in a camera is probably what I should have said.
@@piccininopictures Their weren't the first to invent raw video either. They were the first to successfully patent it and it never should have been the case. They failed all the prerequisites for applying for that patent and somehow managed to get it through.
@@shueibdahir yeah I remember all the controversy with that. I misspoke when I said they invented it. Their patent was about have raw images in sequence captured in a camera I believe.
Lose the 20 second intro you are losing retention. Get right into is and then roll a 5 second intro... maybe. I hate intros lol. Nice to see you posting!
Agreed! I had to keep skipping forward five seconds until I got past all of that and throughout the video with all of the clips inserted.
Age has nothing to do with anything arri has two sensors . Meaning they been using one sensor for almost 20 years
@@AUUA-p5v Arris sensors and color science are amazing
I'd pay about 250 bucks for that Red camera... but it'd be a stretch... since it doesn't come with any lenses.
It looks big and clunky. If I had to film anywhere, it's got to be guerilla and on the down low, and there is no way you're getting away with something that friggin huge and obvious.
This camera is not 16 bit. The sensor is 12bit linear at most but wraps it in a 16bit package. RED knows how to market their stuff.
The only sensor Im aware of capable of true 16bit sensor readout is the ALEXA 35. This camera is definetly not 16bit and evenit 14bit would be stretching the truth.
EDIT: RED did not create RAW video, they just patented it under false pretenses and now the entire video industry is paying for it. The patent should have never been approved
@@shueibdahir thanks for watching and the info. I know there’s always been a lot of controversy with lots of the specs that Red claims. But I come back to this. If you look at the films shot on the camera, Like “The Martian” for example ( and I know a lot of post work is done ) it still looks stunning. Not matter what the claimed specs are the end result is beautiful in my opinion and therefore I have a love for this camera. I’ve also shot a lot of projects using it as well as the Gemini and Helium and at the end of the day I’ve been very pleased with the results.
RED does use 16 bit A/D conversion on their sensors and it is kept 16 bit all the way to the encoded R3D Raw. If you have proof this is isn't true, please share it.
@@RubenStuveling I don't think so. It might encode the files as 16bit linear raw but that means nothing. It's like a big pipe after a small one. I believe their sensors since the RED Dragon have been using 14bit ADCs and the dynamic range numbers at an SNR of 1 seem to confirm that. ARRI Alexa with its 14bit ADCs and also Dual gain output gained an extra 1 stop over the Dragon sensor. If it was truly 16bit their sensors would be one stop behind the Alexa 35, but they're not. They are way behind.
The Komodo does 13.6 stops at SNR of 1 and so did the dragon. VV raptor is capable of 14.5 but I think that's the resolution tricking the imatest due to oversampling averaging out the noise.
So no, RED does not use 16bit ADCs. They most likely use 14bit now
@@shueibdahir Friend, go to the website of RED and see for yourself that Dragon is a 16 bit sensor. If you think that is a lie please provide evidence for it. The only reason ALEV sensors have a higher DR is because of the DGO implementation they use.
@@shueibdahirAgain please provide proof for these claims. It’s very weird to make these claims without having a sliver of proof for it. RED even has it specifically on their website that Dragon is a 16 bit sensor. So what actual proof do you have that this isn’t true?