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|| SportsShooter.com: Member Message Board
New Esquire Magazine cover - frame grab
Patrick Meredith, Photographer, Assistant
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Christopher Szagola, Photographer
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Richboro | PA | United States | Posted: 9:22 PM on 04.27.09 |
->> Yupper,
Think about it, if you video Larry Fitzgearld's catch at the end of the Superbowl with one of those camera, you can pick out the exact frame which has all the elements the editor wants.
For I heard this one, the reason why some are turning to the high ISO cameras instead of strobe, is to CTA. For their editor is watching the game on TV and wants to see the shot he just saw on TV.
Also you get the advantage of having both that frame and the video clip all in one shot...
We do live in some interesting times... |
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David Harpe, Photographer
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Louisville | KY | USA | Posted: 10:10 PM on 04.27.09 |
| ->> The products from RED are game changers. They have several things in the pipe that will make all of us rethink the way we do things... |
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Erik Markov, Photographer
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Kokomo | IN | | Posted: 11:15 PM on 04.27.09 |
| ->> I agree with you David, I think Red will be the one (at least right now, unless someone else comes outta nowhere) to really shake things up. I messed around with some HDR images for the first time on my D700 today. To do it I had to shoot 7 bracketed images over a few seconds of a waterfall and garden. Obviously motion HDR pics can't be done now, too much blur in the final image. But should someone come up with a chip where each pixel is independently controlled, imagine it. Shoot HDR photos 8 frames a second (or 24fps video) of the final catch of the superbowl. Colors that pop, definition in the shadows without noise. Extremely fine detail across the whole photo, without having to choose to expose highlights, midtones or shadows. That would put high def tv out on the curb so to speak. |
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Daniel Celvi, Student/Intern
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Carbondale | IL | | Posted: 1:50 AM on 04.28.09 |
->> So, my biggest thing about these types of frame grabs is the camera. Red makes amazing, stellar cameras. Just, some of the best stuff available. But it also tends to come with a price tag that puts even Leica to shame. Will this really be a viable option? Especially when you consider, from the newest line of Red cameras they announced a while back, the bodies that were up to par with say the D3X or 5D MKII in still resolution were what, well into the 5 figures? Not counting lens mounts, grips, batteries, hard drives, viewfinders, or lenses. Don't these things push into the 100k+ range for a good set up? Not to mention, the things are massive, and I've only ever held a 16mm movie camera, but it was on the upper end of size for 16mm, and it was quite the beast. We're talking far beyond hand-held or monopod range (for comparison, I consider a 300 f/2.8 to be fairly reasonable to hand hold outdoors).
So my question, is this really going to be a practical option? Especially as more work moves to freelance, when all of the costs of even just renting falls on your shoulders, it just doesn't really seem feasible. Maybe for special projects, when a magazine is ponying up a lot of extra cash for the rental to get something specific. But for regular use? |
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Erik Markov, Photographer
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Kokomo | IN | | Posted: 2:37 AM on 04.28.09 |
->> Daniel,
You're right the price is up there for a Red camera. But initially it will be like everything else, not everyone will be using it. People who can afford to, will do so. Those who can't will continue to use the cameras everyone else is probably using. Over time as the technology progresses, the cost will come down, competitors will enter the market with their own products that have slight variations, lower costs etc.
No one could have guessed, maybe 5 years ago, Sony would develop an slr camera that would be on par with Canon/Nikon, but from what I have read Sony's cameras are pretty good. Same goes with the Red, someone else will compete against them.
It's a poor analogy, but I'm sitting looking at some cf cards on my desk right now that I used for my Canon G2 P&S. Some 32mb, 64, 128, the largest a 512mb. I only got that camera 7 years ago. Still a good camera for quick shots, still use it occasionally b/c of the hotshoe on it. I'm not positive but I would bet those cards totaled at least $150 if not more when I bought them new then, now they're useless except for that specific camera. I just bought 2 8gb cards for $40, it's how it goes.
Early adopters will spend the money on Red which will help the company develop new systems and techniques for their products. The prices will eventually come down. |
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Eric Canha, Photographer
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Brockton | MA | United States | Posted: 7:19 AM on 04.28.09 |
->> I think that the second prong to the question is what are the chances that MLB/NBA/NFL/NHL will allow a dozen or more HD quality video (Red) cameras on to the sidelines of their events to record the entire game. What will that do the value of the TV contracts when one of entities claims editorial privilege and the whole game is posted to a newspapers website?
I think that we'll see it from the players that have DEEP pockets and are willing to sign away any fears that the leagues will have about diminished TV money. |
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Mark Peters, Photographer
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Highland | IL | USA | Posted: 7:42 AM on 04.28.09 |
->> Eric - what if it is TV with the RED? - then why would they need to credential still photographers.
Daniel - what's $100K to a dentist? I'll take the under on the over/under on when the first RED shows up at a U7 soccer sideline. Does it have a P mode? |
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Wayne Short, Photographer
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Kingsville | TX | USA | Posted: 8:12 AM on 04.28.09 |
->> Great points Mark!
Before digital it was rare to see a parent at a youth sporting event with a high-end SLR film body and fast glass, but now it is common place. Same goes for video cameras. As long as there are credit card companies willing to issue the credit limits necessary, there will be someone willing to buy the cameras. I think a lot of pros will soon have to change their train of thought from "can I justify buying the technology" to "can I justify not buying the technology".
I think the corner has been turned, and all the speculation of "will" the convergence of photo/video happen has quickly been turned into "when". IMO, the train has already left the station, and it is just up to each person to decide where they get on.
Wasn't that long ago the photography world was amazed at McNally's first all digital assignment for Nat Geo.
http://www.robgalbraith.com/bins/multi_page.asp?cid=7-6450-6561
Now look where we are! |
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Steve Ueckert, Photographer
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Houston | TX | | Posted: 8:18 AM on 04.28.09 |
->> In all the discussion it shouldn't be overlooked that the Esquire cover is a vertical crop of the frame from the Red.
This won't save newspapers though. |
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