Thread: Any New OLPFs at NAB2015?

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  1. #11  
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    If i remember correctly a "man-in-the-middle"-OLPF is in development. It will be sitting between the LL and STH, i guess thats something we could consider being the STH2.

    LOL, Björn, thats a funny story.
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  2. #12  
    Senior Member Phil Moreton's Avatar
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    It would be good to see some examples of these new OLPFs.
    Not just stills with them in use but with and without examples either stills or motion would be very helpful to decide on purchasing them to play with.

    Id love to see what the results are when using the IR Spectrum Zero Lowpass filter when not shooting with a fully desaturated setting.

    Also is RED's DSMC IR PASS OLPF (COLOR) the same as KipperTie's IR Spectrum Zero Lowpass filter?
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  3. #13  
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    I dunno Phil; that's like saying filters are silly because you can do most (if not all) types of filtration in post. I'd be willing to bet that a lot of cinematographers would prefer to have an inherent look as close to their vision as possible coming out of the camera, making it less changeable down the post-pipeline (you read about the Dying of the Light fiasco?)... Even more so for Weapon, with it's built-in prores -- if it ends up shooting 4k prores, there will definitely be productions that use that as their acquisition format (and not 4444 or 4444XQ, but 422).

    And, again, if they were only $195, people would buy... Conversely, $595 is a little rich for something that's subjective/artistic choice (unless the shooter absolutely needs them -- like bubble blowers see clear IQ advantages with the H20, for example).

    In other words, you have swappable OLPF capability with Dragon; why not take full advantage of it, rather than just have half a dozen experimental (at best) options.
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  4. #14  
    Senior Member John Marchant's Avatar
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    Quote Originally Posted by Phil Moreton View Post
    Also is RED's DSMC IR PASS OLPF (COLOR) the same as KipperTie's IR Spectrum Zero Lowpass filter?
    Not quite the same - the RED version has the standard lowpass filter in place to remove any chance of spatial aliasing. I would expect comparable colour related performance though.
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  5. #15  
    Senior Member Phil Moreton's Avatar
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    Quote Originally Posted by John Marchant View Post
    Not quite the same - the RED version has the standard lowpass filter in place to remove any chance of spatial aliasing. I would expect comparable colour related performance though.
    Can't wait to see some examples.
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  6. #16  
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    I use FilmConvert plugin for Kodak & Fuji looks but HATE the added MASSIVE render times. Would be great to achieve this look in the original signal chain. It's possible to export 3DLUT from filmconvert but I don't really want to spend £6.5K on a REDcast or more for a weapon upgrade as a solution to make this happen. A £200 OLPF however: win!

    I actually think Kodak & Fuji would sell a fair few of these. Call them FilmStock OLPF's?!?

    I have no idea how much work goes into perfecting these coatings and how much info RED would ever offer a third party such as Kodak re: their Dragon CFA but I know I have a lot of transparency Kodak & Fuji 120 roll film in my fridge that my wife would love to see me be replaced with some nice vino or something else more tangible for her "uninterested in camera palette" ; )

    Hell, even various Kodak & fuji stocks Dragon .RMDs would do!

    I'll stop dreaming now.

    Sigh.

    : )

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  7. #17  
    Senior Member Phil Moreton's Avatar
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    I'm surprised no one has started a thread or created a sub-forum for individual RED Looks.
    Would be great to start building a library of RED looks for our cameras.
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  8. #18  
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    Or links to LUTs even, finally tuned for RLF/RC4/DC2/MX/Dragon...
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  9. #19  
    Senior Member Phil Moreton's Avatar
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    Quote Originally Posted by Mike P. View Post
    Or links to LUTs even, finally tuned for RLF/RC4/DC2/MX/Dragon...
    There are lots of LUTs about, easily used on all the new monitors or RED Weapon but for Epic & Scarlet I'd love some interesting Red Looks.
    I have a lot of clients that STILL don't ever go back to the RED RAW footage to grade. So on those jobs I like to give them an image that is pretty much burnt for them for the final picture lock and export.
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  10. #20  
    Here is a beautiful example of the IR OLPF (from John)

    https://vimeo.com/125947740
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