Click here to go to the first RED TEAM post in this thread.   Thread: OFFHOLLYWOOD shoots MX ISO 1600

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  1. #121  
    Quote Originally Posted by Jon Sagud View Post
    So nice to see work when it's done right. Nice job, Mark & crew. M-X looks awesome.
    Love the compliments ... but really ... this was just "point and shoot".

    It's amazing to have a high resolution digital cinema camera .... done right.


    I so amazed at what Team Red has done in such a short period of time and I feel so lucky to be on the wild ride.

    Bring on the 28K!
    Mark L. Pederson | Cinema Products | TERADEK
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  2. #122  
    This is absolutely incredible. I really can't wait to upgrade my camera...wow...I am SO SOLD!!!
    Norm Li, csc
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    http://www.norm-li.com

    Alexa Mini's, Arricam LT 2-perf, Arri 235 4-perf, Arri 416 Plus HS, Leica Summilux-C Sets, Cooke S4/i Sets, Arri Master Primes Set, TLS Cooke Panchros, Angenieux Optimos, Lomo Anamorphics, Arri Ultra16’s, etc.
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  3. #123  
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    Wow. Loved the rolloff into the overexposed areas. Hmm... Epic or Upgrade?
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  4. #124  
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    Quote Originally Posted by Joel Kaye View Post
    Wow. Loved the rolloff into the overexposed areas. Hmm... Epic or Upgrade?
    Hmmm..... both?

    (by the way, REDfolks, I'm on the job market! )
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  5. #125  
    Quote Originally Posted by Mark L. Pederson View Post
    So here's a little taste - this is H264 crunched from ProRes so sorry about the banding
    Is there something wrong with the prores codec that causes banding? What's the deal here?
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  #126  
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    Quote Originally Posted by Craig W. Bickerstaff View Post
    Is there something wrong with the prores codec that causes banding? What's the deal here?
    If you are seeing banding... my bet is that the culprit is H.264 as Mark suggested.

    Jim
    "The camera is arguably one of the most important of all inventions… it is the single tool that has the ability to stop time, record history, generate art, tell stories, and communicate messages that transcend language like nothing else ever conceived."

    "Everything in life changes... including our camera specs and delivery dates..."

    We reserve the right to refuse service to anyone with a bad attitude.
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  7. #127  
    Mindblowing.
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  8. #128  
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    ProRes 422 and variants thereof work at 10-bit precision. The H.264 spec offers profiles similar to or better than it (e.g. High 4:4:4 Intra Profile), but the reason you see banding is the delivery profile that H.264 usually takes: MP or HiP with 8-bit sample depth and 4:2:0 chroma subsampling. Depending on how you go from 10-bit to 8-bit can result in visible banding artifacts (usually by rounding). It also doesn't help that Apple's QuickTime H.264 codec is junk.
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  9. #129  
    More footage coming Monday. One of our colorists & techs took an MX out to shoot a spec music video for test footage - all ext. from sunrise to sunset today - should be good stuff. Stay tuned.
    Mark L. Pederson | Cinema Products | TERADEK
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  #130  
    Banding (posterization) generally occurs when there's not enough noise in the image to effectively dither the gradients into behaving nicely.

    Due to it being a nice wavelet codec, REDCODE doesn't produce banding artifacts. To be precise, we've tested it under extreme circumstances and investigated it thoroughly and never seen actual banding in the R3D itself.

    ProRes is also a lossy codec, and even though it's 10bit, if the lossy aspect of it removes dither-like noise, it could lead to some banding. However, the major culprit is h264 which in even it's best implementation will generally show banding as even when it's at it's lowest levels of compression it's practically impossible for it to not remove any added dither or any dither-like noise. And once that noise or dither is gone, 8bit will band. And even if the h264 was higher bit depth, it would still band once that dither or noise is gone.

    Graeme
    www.red.com - 8k Digital Cinema Camera
    Science enables stories. Stories drive science
    IPP2, Image Processing, Colour Science and Demosaic Algorithms
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