About all I can acknowledge is that Spider-man is being shot on EPICs in 3D. The rumors were correct.
About all I can acknowledge is that Spider-man is being shot on EPICs in 3D. The rumors were correct.
I have said this before but I'll say it again, shooting features or serious television in 1080P is a big mistake. Since this view will certainly get thrown around the industry, let me explain why.
1. With the certain new standard of 4K delivery for movies AND tv, anything shot on 1080P will be left in the cold for a re-release. Several major companies have 4K displays and projectors nearing release to theaters and to the public. Sony has already converted many theaters to their 4K projectors. Epson has a killer home 4K projector in waiting. Panasonic, Samsung, Christie, Barco, Sharp, Meridian, and others are ready to get their fair share.
2. 1080P is not a quality replacement for film. It has 1/4 the actual measured resolution of film (some less than that). To make the "big screen" it needs sharpening. Often times lots of it. Sharpening is not good for the skin. Real resolution beats sharpening every time... by a lot.
It is my firm belief that hindsight will show the 1st two digital standards, SD and HD, will be considered "mistakes" in the not to distant future. Film will never be considered a mistake. It is the gold standard. It will hold up to 4K releases and you will see many classics re-released in 4K.
Don't count television out of 4K. The delivery mechanism is coming.
I started RED because I did not believe that 1080P was an adequate replacement for film. I love film. When its day is done, we need to honor it with at least as good an image... hopefully better. 1080P is not it.
(Steps down from soapbox)
Last edited by Jannard; 12-18-2010 at 06:02 AM.
REDCINE-X BUILD 356
Test Build 356:
Changes 351 to 356:
REDGamma2 and REDColor2 added to REDline help.
Fixed crashes when loading certain RMD files.
Fixed bug where 3d clip exports weren't respecting in and out points.
Fixed REDline bug where --useRSX 2 would use in and out points from the RMD file.
Fixed ReelID and AltReelID output from REDline.
The mouse wheel will no longer scroll drop downs.
Improved error messages for the "move to trash" operation.
Fixed crashes when loading project files or R3D's from the Finder on Mac.
Fixed bugs with multiple "Save As" dialogs appearing when the Export button is pressed multiple times.
Fixed coloring issue with drop downs in the Export Settings dialog.
64-bit REDline is now functional.
Rubber-band selection in the browser will now scroll the view if necessary.
Improved thumbnails seen when dragging clips in the bin and browser.
Fixed the "too many open files" bug in the bin and browser for 64-bit Mac builds.
Fixed bug where the Shift-Z shortcut was not working.
Added REDCODE and "Record framerate" metadata fields.
Fixed hit region of buttons on Mac.
Framing performance improvements
Fix for Avid 16 char edl's not relinking correctly.
Fix for off by one FCP XML import.
Better slug handling for FCP XML import/export.
Better clip handle support for export FCP XML's.
Handle FCP XML transition items, so no frame dropping occurs on import.
Properly quote paths in REDLine batch scripts.
Video window zoom improvements.
Fixed backwards copy during Top Bottom 3d exports.
Always use filename of left clip for 3d exports.
Added Growl Batch Finished notification.
Export handle size increased to 100.
Can now refresh currently selected look and framing presets.
Fixed 3d offset behavior.
Fixed timeline clip split bug, where a duplicate frame was introduced.
1st REDCINE-X for EPIC... !!!
Now you just have to get someone to post some EPIC R3Ds... :-)
Please make sure you open ALL files with REDcolor2 and REDgamma2 (or REDlogFilm).
Last edited by Jannard; 12-23-2010 at 12:05 AM.
This is NOT official (yet) but should give you a good idea what's happening with REDCODE and SSDs.
Double the times for a 256GB card and halve the times for a 64BG card (pretty obvious I guess)...
While it is not usually our position to offer rewards for our customers stolen property, this one is an exception. EPIC #00006 is truly a historic camera. It is the very 1st EPIC shipped to one of our customers and the way it was taken irritates me no end.
We are now offering $100,000 for the safe return of EPIC #00006 and the rest of the system including the media with Mark's files... and the arrest and conviction of those that broke into Mark's chalet in France. We will ONLY pay this amount if there is an arrest and conviction of the parties as we are not interested to be ransomed by thieves.
If you have any information regarding the theft, the location of Mark's property or any details that might solve this case, please contact anyone at RED and they will make sure I hear about it.
Posting information on REDUSER is NOT a good idea for several reasons, including your own safety. Please do NOT post any information you have obtained. Any post we see on REDUSER regarding information on this case will be deleted.
Last edited by Jannard; 12-31-2010 at 11:37 AM.
These were taken at the same time as the "barn shot". I'm doing some testing of HDRx in REDCINE-X (early build) and thought I would post as we go along.
These are all UNGRADED. I took a frame of "normal", "under" and then one from the standard HDRx blend tool using NO SLIDER CONTROL (default settings). With the slider, you can have more or less highlight protection... as you wish. These are LOW QUALITY screen grabs from the files stacked up in Photoshop. But you get the idea. I think we used +3 on both of these... can't quite remember, I'm getting old and the metadata wasn't in back then. Opened with REDcolor2 and REDgamma2. No other settings were touched or grading done in either REDCINE-X or Photoshop! Again, this is from the standard HDRx blend tool with no slider control.
Note: Back then we probably cheated a bit with the normal exposure and put it a tad over. Please don't tell anyone.
So what exactly is HDRx™?
HDRx™ is a RED invention that is built into every EPIC and Scarlet camera giving the user an option for extended dynamic range when the situation calls for it… from 2 to 6 stops over native by preset.
How does HDRx™ work?
In a single camera, HDRx™ simultaneously shoots two image tracks of whatever resolution and frame rate you have chosen. The primary track (A-track) is your normal exposure. The secondary track (X-track) is a "highlight protection" exposure that you determine in the menu settings. You select the amount of highlight protection you need in stops… 2,3,4,5, or 6. Each stop represents a stop less exposure in shutter speed. Example… if you select 2 and your primary exposure is 1/48th sec, the X-track will be two stops less exposure at 1/192 sec. The ISO and aperture remain the same for both exposures.
During recording, the two tracks are "motion-conjoined", meaning there is no gap in time between the two separate exposures. If they were two alternating standard exposures, there would be a time gap between the two tracks that would show up as an undesirable motion artifact. Both tracks (A & X) are stored in a single R3D. Since there are two exposures, the camera is recording double the amount of frames. For example, if you are shooting 24fps, the camera is recording 2-24fps tracks, the data equivalent of 48fps.* After combining the two tracks for playback you see only one 24fps motion stream.
Once I record HDRx™... what do I do with it?
The power of HDRx™ is the multiple options you have to use it.
1. Combine the two tracks in post tools like REDCINE-X, Storm or any other application that supports the SDK to create "Magic Motion" (see below). This blending of the two tracks comes with a slider so you can decide in post just how much of each track you want to use. A preview window shows you the result of your selection. You can also view each track individually.
2. You can combine the two tracks using MNMB (More Normal Motion Blur). MNMB is designed to emulate the motion of a traditional camera with full motion blur. This is a tool created by The Foundry (creators of Nuke) that uses a new motion estimation algorithm designed specifically for HDRx™. The shorter exposure (sharper image) is blended to match the motion blur of the normal exposure. Again, the preview window shows the combined result or each track individually.
3. You can use the X-track separately (sharper image) for motion tracking, then combine with the A-track as in #1 or #2 above… or ignore the X-track altogether.
4. You can combine with a variety of additional new tools created by Graeme Nattress for a multitude of creative options.
Exporting to EXR will give you a multi-view EXR with both exposures (like a stereo EXR).
So what is "Magic Motion"?
Shooting 24fps and 180 degree shutter on film or digital is an illusion. It is not really the way we see motion. Ask someone to stand in front of you and swing their arm over their head from one side to the other. If this was shot traditionally at 24fps at 1/48th shutter all you would see is a constant motion blur until the arm stopped. But that isn't what your eyes actually see. You see both motion blur AND sharper references to the arm and hand all along the path. "Magic Motion" is much closer to what the eyes see… the combination of motion blur (A-track) and a sharper reference (X-track)… with the bonus of extraordinary dynamic range not seen in any motion capture camera.
Note: If you ignore the X-track completely, you will have a standard exposure with 13 stops of native dynamic range from the EPIC… just as if you had not turned HDRx™ on. For this reason, we encourage the A-track exposure to be "normal". It gives you the most options, including "turning off" HDRx™ (the X-track). If you are tempted to shoot "over-under", you are then fully committed to HDRx™. While no one will call the police on you if you do this, your options are dramatically reduced.
So what are the downsides to HDRx™?
1. Since you are recording twice as many frames, your maximum frame rate, minimum REDCODE ratio, and maximum record time on your media will be cut in half.
2. Limitations. MNMB is more effective than Magic Motion with very fast moving, bright objects in a dark environment. Can you break HDRx™? Sure. Just like you can pan too quickly with any 24fps camera. All digital cameras have to deal with judder. We got used to film grain to the point where we thought we actually didn't want to give it up. Learn the limitations just like everything else. Then shoot 18 stops of dynamic range and show all your friends what your camera can do.
EPIC and Scarlet are coming.
EPICs and RED ONE MX are being used on:
The Hobbit- 3D EPIC
Spiderman- 3D EPIC
Contagion- RED ONE MX & EPIC
Girl With the Dragon Tattoo- RED ONE MX & EPIC
Clash of the Titans 2- 3D EPIC
Underworld 4- 3D EPIC
Ridley Scott Un-named- 3D EPIC
Jack the Giant Killer- 3D EPIC
Un-named biggie #1 (another huge budget studio movie) announced soon- 3D EPIC
Un-named biggie #2 (another big budget studio movie) announced soon- 3D EPIC
Un-named biggie #3 (another big budget studio movie) announced soon- 3D EPIC
EPIC-Xs ship in reasonable quantities before NAB 2011.
Scarlet 8X and interchangeable soon after.
Deliveries of EPIC-X to all existing customers by summer 2011.
Big surprise at NAB 2011.
Jim's vacation after NAB 2011.
New REDcolorEPIC due February 1st.
REDray Pro ships April 2011.
RED booth at NAB- SL6320
All EPICs built in the USA.
EPICs used by still photographers for major magazine shoots- now.
EPIC-S ships as soon as we take care of EPIC-M and EPIC-X customers.
Development of future RED technology... well on the road.
Happy customers- priceless.
Last edited by Jannard; 01-23-2011 at 12:12 AM.
|« Previous Thread | Next Thread »|