This episode of Film Riot is brought to you by Domain.com. Today's episode of Film Riot
is just downright epic. Welcome to Film Riot. Facilitates the affects and the technique,
score some of the latest Hollywood films. I'm you're host, Ryan Connolly. So question,
what does the latest Pirates of the Caribbean, the new Spiderman and the film The Peter Jackson
is currently shooting have in common?
Correct. They're all shot with the Red Epic which is the camera I have right here to show
you guys today. This is unfortunately not my camera. I actually have to send it back
very soon. It was sent to us, on loan from Eric Kessler, who is behind the awesome Kessler
Crane gear, and we're lucky enough to be one of his Kessler's Shooters.
So, here it is. So, again enormous thank you to Mr. Kessler for letting us play with his
ridiculously awesome piece of gear for a few weeks so we could show it to you guys. Now
why would we show it to you all? I thought this was a no brainer, but I did see a few
comments asking why we would show it since it's such an expensive camera.
I think one person even said that he would stop watching the show if we started using
this camera all the time, which is kind of silly.
The point of this show is to try to teach people how to make films. Most of the time
we show you how to do it with no budget, but every now and again we're going to show you
how to do it on a much larger scale. Your goal shouldn't be to make zero-budget films
forever. Your goal should be to learn and practice with what you have right now so one
day, you could do things on a much bigger scale.
So after this episode, you will hopefully know enough about this cinema grade camera,
that you can just pick it up and go with it, if ever the opportunity arose, so now with
that said, let's bust this beauty out.
I heard a lot about the red cameras and how you can't use them to do run and gun shooting
or that you need a technician to come along for a red shoot, et cetera. That is not true
at all and after this episode you'll be able to pick one up, like I said before, and just
start shooting. So up here is the LCD.
This thing is awesome and controls the camera through its touchscreen interface. So it makes
this camera super were easy to set-up and get going. If you look on the LCD, you'll
see the menu up above, you just touch to change your frames per second, your ISO, shutter,
white balance, in what resolution your shooting at.
Right now I have it set to shoot at 5K with the aspect ratio of 2.4 to 1. If you touch
here, though, you change it to a few other options, including 4 k and 2 k.
I am actually shooting my action short film in 5 k, even though I am editing and finishing
in 2 k. The reason for that is when you switch over to 2K, the image becomes very cropped.
So, this 21 millimeter lens is looking more like an 85 millimeter. So, there was just
no way that I was gonna shoot a fast moving action like that, which is why I chose to
shoot in 5K.
Now moving on, if you click this little recycle-looking sign, we move to the next area of the menu.
Over here, the only things I really had to use much was media which is where I formatted
the cards and settings. Also down here you'll see there is an indicator showing you where
the battery power is at.
Full is 15 volts and the camera will shut itself off at 11V. So, you have to keep an
eye on that. It actually shut off on me mid-take. Here you have how much space is left in your
card and then you have the histogram, then two meters. One shows you how much noise you
have in your image and the other one shows where the whites are clipping.
And that's the basics of all you need to know about inside the menu of this camera.
Now, outside the camera you have the power button, which is right here, and it also becomes
a record button once the camera is on if you press it quickly. Then there's another record
button right here in the front. And here is what the camera records on. These are red
mags and they are awesome. And the process of using these is basically the same concept
as using your CS or SV card for your DSLR cameras during production and in post.
Now, finally in front we have the lens. And right now I have the mat box on which has
an MV filter in it, and these are Carl Zeiss compact prime lenses. The Kessler package
comes with a few them, an 85 millimeter, a 50, a 35, and a 21. And these are just gorgeous,
super sharp, and very fast. So that is the camera in a nutshell.
There is actually another tutorial on the camera from Tom Guilmette online at this link
here, Tom's a great guy in super smart, so check that out, and between his video and
mine, you will be able to pick up a Red Epic and start shooting.
but now I've been getting a lotAsking what 48 frames per second would look like, as compared
to 24 frames per second. Since Peter Jackson is currently shooting "The Hobbit" at 48 frames
per second, and since this is the same camera that he is using to shoot the film, I'm going
to do some tests on both 24 and 48 to compare the two together, but, after this.
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Okay and okay. So, Peter Jackson is shooting The Hobbit at 48fps on the Red Epic and I'm
very curious to see what this is going to look like with their process. I love when
new things are tried, and I'm super curious, as a lot of you are, to see what it's going
to look like in the end.
So, with that in mind, I figured we would go ahead and try putting 24 frames per second
right next to 48 frames per second to see how different they look. Now, of course, this
will look much from their process and in the theater projected on film, but hey, why not
give it a shot? So, let's do it.
First off, 24 frames per second. Here we are. Start prancing about in the usual 24 frames
per. Second, and now we flip over to 48 frames per second, again, some start action in. Good
ol' 24 frames, and again in 48 frames. Ooh, what's this- another shot in 24 frames? And
well, how about one in 48. For the most part I find it a little hard to tell the difference,
but when you really look you see that there's a lot less motion blur in 48 frame clips than
there are in the 24 frame per second clips, which I found a bit uncomfortable to watch.
But I did read that Peter Jackson has done a lot of testing and is doing something a
little different with it. So, I'm very excited to see and get a glimpse of, well, there technique
and how theirs look. But, yeah, did I mention that the Red Epic shoots at 300 frames per
second? Slow motion. logo.
That's all for today my friends, but there is more RED loving coming on Monday. We're
going to be showing my post-workflow for the RED Epic. Plus our location scouting for the
action short film we've got coming. And it will only get better from there so I'll see
you on Monday for more Epic goodness.
Ryan out! Holy God!