Considering the best option for a full theatrical release, and the costs involved, which would be the best camera system for 3D work: An SI-2K or a Red One?

How do choosing either of these cameras affect production, post production and delivery?

Since a full-blown feature film will require both beam-splitter and side-by-side rigs, which of these two cameras lends itself commendably to both? Are there any other options which in price and functionality match or beat these two cameras when it comes to indie feature film-mkaing?

ask Anand (unicorn)9821606447

Thanks. Who is he?

Hi

for 3D work SI has many advantages first of Weight - we have SI3D system that you can carry (meaning one person can take the system, tripod, cameras, recorder and monitor)

Second is interocular distance can be down to 72mm on side by side rig on SI so you can get away with quite many things what you would need to do by beam splitter.

onset monitoring and grading: you have 3D lut compatible display system that works with most 3D display technologies without any extra hardware.

the entire system is power off single AB battery system and get about 3H recording time out of 190Wh batt.

if You are interested we do rent this system and provide camera assistant (kaspar [] digitalsputnik.com) for any extra info....

-Kaspar

Anybody rent something like this in the U.S.?

At $40,000+ USD each the SI2K mini cameras make a nice mirror or rail 3D system but are pretty cost prohibitive to buy. I investigated this when I started to build my rig, but I settled on Sony EX cameras coupled to Nano Flash units which was a more economical setup without sacrificing quality. When/If the Red Camera Corp. finally produces the vaporous Scarlet camera, I'll be first in line to pick up two of those, provided the footprint is as small as the pre-release pictures showed.

I think there are a couple of these SI2K mini rigs for rent around the country, perhaps some googling will turn them up. Try Fletcher in Chicago and Abel Cine in NY/LA.

Hi

we rent worldwide....

-Kaspar

Do you have a website kaspar? Or some pictures or test footage with your rig? How do you propose to rent worldwide?

Hi

Yes we have a website Digital Sputnik (http://www.digitalsputnik.com), as for renting worldwide - we require to have our camera assistant for first job with unknown client. We also provide postproduction services that help to make sure that the entire process from pre-production to delivery as seamless as possible. Contact via e-mail for specifics....

Thank You
-Kaspar

Hi,
I reading through the forum quite a bit today, but no final result for me.
We have to buy 3d camera, mainly documentary use. Sofar we found the Red solution, the SI2K, the Panasonic (not yet available??), and recently a camera called CP31 from 3d-one. Is there anybody who has experience with the Panasonic or the 3d-one? Size and weight would be looking good to us. Any others which can do HD?

Thank you
Marcello

(sorry for the poor English)

and recently a camera called CP31 from 3d-one

I don't think that camera actually exists.

SI2k stereo package or a pair of Iconix would be very good solutions that will work right now, today. Both are small enough to be used side by side in many, perhaps most, situations. Both are small enough that if you do need to use a beamsplitter, it would be small enough to put on a shoulder mount or steadycam.

Red would need a much larger rig, and would have to be on a beam splitter most of the time.

A problem with accurate genlock plagues the Red One camera 3D systems. It is acknowledged by the Red engineers and supposedly fixed in the yet-to-be-released-or-seen Epic and Scarlet units.

It should be noted however that many Red 3D shoots have been successfully completed even with this genlock issue.

On the SI2K front, there are new units available now and a special 3D control box from SI. There is also a small rig from Element Technica that I saw at NAB last week which allowed for both mirror and side-by-side operation for two Si2K mini cameras, called Neutron I believe.