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You guys all know we love the folks at stillMotion and you know they love HDSLR shooting – so what the heck is up with them using a RED Epic on a wedding shoot? And, just how’d that work out for them as compared to their friends the HDSLRs?

Find out a bit in their post as well as an excerpt below.


How far can you push Red?

a warm toning to match the early morning when the shot was taken. shot with the RED 300mm. shot from the same spot as the image above (note this house slightly to the right of the middle of the frame).

processed to look like it was shot in the evening as an example of how far the image can be pushed.

From the story

those of you that know what we are about, know that we are very passionate about keeping things real at an event. that means no pausing, slowing things down, or re-takes. the problem is, the epic likes all of those things. in fact, it might not be a stretch to say that the epic was built for those things. that was absolutely the biggest challenge. trying to keep up, or ideally stay one step ahead, while working with a slower, heavier, and more complex camera. i’ll be honest, i caught myself a couple times wanting to slow things down so i had time to get where i wanted to be. if the epic was to be part of how we shoot weddings it needed to fit into the way we cover an event, and that meant i needed to find a way to be faster and adapt.

why the epic?

challenge. if the epic is a camera that isn’t optimal for shooting an event than why bring it along in the first place? first and foremost, and this can’t be understated in it’s importance, we love a challenge and we love to push ourselves. this was a scary endeavor and it’s important to put yourself in those situations.

resolution. france would be a location that calls for scenics. a DSLR is many great things, but shooting wide scenics is not their strength. having a camera that shot at such a high-resolution meant no more moire, amazing wides, the ability to zoom and crop in post as needed, and the possibility of pulling frames as photos. with amina there also shooting photo, but shooting by herself, we definitely took advantage of the resolution of the epic and pulling frames. it is too early to tell exactly what she may use, but it would be hard to see the frames not being a significant part of her coverage.

frame rate and aspect ratios. we don’t shoot much slow motion, but when we do it is awesome having the option to go up to 120fps while still keeping 5k resolution. there was a couple times this felt appropriate and i think both shots will end up in the trailer. as with any new tool, the trick is in not over-using and instead employing it in a relevant way. i hope we did that. we opted to shoot the entire wedding at 5k and 2.4:1. the area was in itself a character in the wedding (hence the title of this post) and the wider frame in a 2.4:1 ratio really lets that come alive.

dynamic range. having about 13.5 stops of range to work with is a huge benefit for an event. for the majority of the day we need to shoot natural light, and having the ability to capture that extra detail helps to make the most of tough lighting situations. the epic also offers an HDRx mode where you can add up to 6 stops more range. surprisingly, we rarely needed to use HDRx as the 13.5 stops was more than enough in most situations, including the one below.

To find out whether the stillmotion team liked using the RED Epic, please read the rest of the story, which starts with “shooting with the epic was absolutely…” a RED epic wedding // janet, josh + the south of france @ stillmotion.

(cover photo credit: snap from the video)



planetMitch

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Mitch "planetMitch" Aunger is the creator and mastermind behind planet5D.com

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