This short film was shot on the Canon 7D and graded to look very flat. Unusual for 7D footage.

The names are references to movies/shows shot at RED Studios Hollywood which was previously Ren-Mar Studios and before that Metro Pictures Back Lot #13. “Blackie” refers to the “Boston Blackie” films that were produced by Metro Pictures at the beginning of the 20th century and Lucy and Desi refer to “I Love Lucy” which was shot on the location while under the Ren-Mar name. More…

Deanan DaSilva and Graeme Nattress have also been twittering about the image coming off the prototypes:

From Deanan:

• 9:05 PM Mar 7th Almost 7 HD frames in one Epic frame
• 2:27 PM Mar 7th 5k, 14 megapixel 24p blows away 4k. Pretty exciting to see how beautiful MX sensor looks at it’s full resolution.

From Graeme:

• 6:27 PM Mar 7th 5120 pixels across. Can you say effortless detail? Even half rez spills over onto my 2nd monitor.

In an effort to get the bad news out as soon as we have it, it looks like we will likely miss (at least) one proposed spec on EPIC/Scarlet. The engineers tell me that a 2 second startup time is now not possible given all the changes/additions to the program. Our current prototypes are starting up in 15 seconds and we think a reasonable target for production cameras is about 10 seconds. more…

If “sleep mode” is still in the final specs this shouldn’t be a big problem.

If you read between the lines it looks like RED finally has a working ASIC for the DSMC. Jannard mentions a prototype and it must fully functional if they can deduce a start up time.

“The Bridge” is a short film being shot on the Canon 7D, 5D Mark II and 550D T2i. You can view the Canon T2i clip here. Here is what they say about working around the jello effect and aliasing:

Although the 5DM2 and 7D have been a god-send for my film, it’s not without problems. I’ve already mentioned the rolling shutter earlier and I’ve limited the issue by purchasing IS lenses, a monopod, and a Steadicam Merlin. The “jello-effect”, as bad as it is, I can work around with and deal with. My biggest problem with these cameras is the moire or “aliasing”. I’ve had to throw shots out completely because it rears its ugly neck and as of now, there isn’t really a workaround or fix for it. You can hide it with some depth-of-field trickery but if you require a wide-shot, all you can do is cross your fingers and hope it doesn’t show up anywhere in your shot. If it does, you either throw it out or live with it, I’ve done both.

You can read more about the film at the official website: www.torresstudios.com/684

This video was shot with the Canon 7D on a Glidecam 2000 Pro and a Canon 24-70mm f2.8 lens.

Swedish model shot with the Canon 7D and a Lensbaby. NSFW:

Video of an abandoned Navy complex shot with the Canon 7D mounted on a Merlin steadicam, Canon 10-22 and Canon 17-55 f2.8 lenses.

This is some fantastic footage of the full moon shot with the Rebel T2i on a Canon 100-400mm L at f/5.6 and ISO 200-800. The T2i’s crop mode was used for the closeup.

Footage of the Pacific Ocean shot in Pacifica CA. This is from the same guys doing “The Bridge”. Lenses used: 18-55mm f3.5, 17-40mm f4L and 70-200mm f4L.

One of the first Canon T2i tests.  Shot at ISO 100 – 400 with Canon 50mm f1.8 and Tokina 12mm – 24mm f4.

These are not likely camera moves you will use but show the level of jello effect in the Canon 550D  T2i.  Shot on a 70-200mm IS II from Canon, which has the field of view equivalent of a 320mm FF35mm telephoto lens on this 1.6 crop camera (this was shot at maximum focal length).

Here is some lowlight footage shot on the Canon 550D T2i:

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The night scenes were shot at ISO 1600 and ISO 2000 and allow us to see what the lowlight R3Ds will be capable of.

The Mysterium-X R3D files can be downloaded here:

www.mediafire.com/2ce06094e4b22845ab1eab3e9fa335cae72530da7c3ed989

Brook has also posted the uncompressed TIFFs of the test below.  Right click and ’save as’ to download tungsten and daylight.

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