Thread: Sony VENICE and RED Monstro Anamorphic in 4K HLG HDR right out from cameras

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  1. #1 Sony VENICE and RED Monstro Anamorphic in 4K HLG HDR right out from cameras 
    Senior Member rand thompson's Avatar
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    Sony VENICE and RED Monstro Anamorphic in 4K HLG HDR right out from cameras




    By Sittipong Kongtong




    I had a test with 2 high end camera, Sony VENICE and RED Monstro in anmorphic mode. I used 2x anamorphic lens; Cooke, Master Anamorphic, Kowa, LOMO. All lens has beuatiful color for both cameras.

    I tested at Life Boat, a camera and lens rental house in Bangkok.
    I export this file in 4K 25p DCI Scope DNxHQX 12bit for Youtube.
    You can see it on any OLED HLG HDR devices.
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  2. #2  
    Senior Member Christoffer Glans's Avatar
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    Why is the Monstro so unbalanced in its tint?
    "Using any digital cinema camera today is like sending your 35mm rolls to a standard lab. -Using a Red is like owning a dark room."
    Red Weapon 6K #00600
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  3. #3  
    Yes, when white walls are green you are doing it wrong some how. I have a difficulty to believe both cameras are at equal kelvins and tint. And even if so. Why make a test where one has the colors clearly pushed out of balance.
    Björn Benckert
    Creative Lead & Founder Syndicate Entertainment AB
    +46855524900 www.syndicate.se
    Flame / VFX / Motion capture / Monstro
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  4. #4  
    Senior Member rand thompson's Avatar
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    From looking at the clapboard he presented for each camera at the beginning of the shoots, he did use a White Balance of 5500 for each camera. It seems he is unaware of the Tint required to better white balance the monstro or chose deliberately not to use it for this test.


    Edit,


    The Venice seems more blue than it probably should as well. So I'm sure there are some Sony Venice owners who will probably take issue with this test as well. So I believe neither camera is truly "White" Balanced.
    Last edited by rand thompson; 06-19-2019 at 06:33 AM.
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  5. #5  
    Quote Originally Posted by rand thompson View Post
    From looking at the clapboard he presented for each camera at the beginning of the shoots, he did use a White Balance of 5500 for each camera. It seems he is unaware of the Tint required to better white balance the monstro or chose deliberately not to use it for this test.


    Edit,


    The Venice seems more blue than it probably should as well. So I'm sure there are some Sony Venice owners who will probably take issue with this test as well. So I believe neither camera is truly "White" Balanced.
    I find cameras to be just as monitors, they can drift over time and / or loose their zero for calibration. But and as the cameras captures raw a gray card balancing would be a good start I think. But possibly they did not compare colors but other things.
    Björn Benckert
    Creative Lead & Founder Syndicate Entertainment AB
    +46855524900 www.syndicate.se
    Flame / VFX / Motion capture / Monstro
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  6. #6  
    Senior Member rand thompson's Avatar
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    Bjorn,


    Yeah, They probably just thought it was easier for them to just set the Kelvin the Same and just go from there. They do say that no grading was done to the images.

    here is my attempt to show how the Venice and the Monstro both could have been corrected to atleast fix the White Balance of each in this test. And yeah! I know they are jpeg images that I graded you can tell by the shitty banding in the image.


    Venice









    Monstro





    Last edited by rand thompson; 06-19-2019 at 12:43 PM.
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  7. #7  
    Senior Member Chris McKechnie's Avatar
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    Gosh....I really really wish RED would focus on color accuracy as opposed to resolution. I feel that the MX & Dragon sensors were much more accurate than any of the latest RED tech in terms of color. Productions care about the post workflow, and amount of work to get the image looking great, and with RED, it just takes more to get it there, where it didn't used to be that way with my tried and trusted MX sensor. That thing is a beast in terms of color, reliability, etc. I still love RED, but I think they need to hit it out of park with a DSMC 3 model that shoots 4K, but is more focused on producing amazing color as opposed to just increasing the K's. Just my opinion as I've seen RED progress/change through the years.
    Chris McKechnie
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  8. #8  
    Senior Member Nick Morrison's Avatar
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    Quote Originally Posted by rand thompson View Post
    From looking at the clapboard he presented for each camera at the beginning of the shoots, he did use a White Balance of 5500 for each camera. It seems he is unaware of the Tint required to better white balance the monstro or chose deliberately not to use it for this test.


    Edit,


    The Venice seems more blue than it probably should as well. So I'm sure there are some Sony Venice owners who will probably take issue with this test as well. So I believe neither camera is truly "White" Balanced.
    Yeah properly white balancing with offsets in camera is a discipline that rarely happens - esp in cam tests.

    Looks like they are just eyeballing it
    Nick Morrison
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  9. #9  
    Senior Member Nick Morrison's Avatar
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    Quote Originally Posted by Christoffer Glans View Post
    Why is the Monstro so unbalanced in its tint?
    Nothing to do with the camera, they clearly eye-ball balanced to the Sony and plugged in the same values to the Monstro.

    Diff cameras almost never match...so...
    Nick Morrison
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  10. #10  
    Senior Member Patrick Tresch's Avatar
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    Quote Originally Posted by Chris McKechnie View Post
    Gosh....I really really wish RED would focus on color accuracy as opposed to resolution. I feel that the MX & Dragon sensors were much more accurate than any of the latest RED tech in terms of color. Productions care about the post workflow, and amount of work to get the image looking great, and with RED, it just takes more to get it there, where it didn't used to be that way with my tried and trusted MX sensor. That thing is a beast in terms of color, reliability, etc. I still love RED, but I think they need to hit it out of park with a DSMC 3 model that shoots 4K, but is more focused on producing amazing color as opposed to just increasing the K's. Just my opinion as I've seen RED progress/change through the years.
    Don’t take this as a color test. I never had a color issue with Red (appart from some yellow peaks you can easily turn down). I love the 6k resolution my Dragon gives me. I would never trade it for a 3.2k lowres bayer sensor.
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