Click here to go to the first RED TEAM post in this thread.   Thread: M-X Reel

Reply to Thread
Page 5 of 24 FirstFirst 12345678915 ... LastLast
Results 41 to 50 of 235
  1. #41  
    Senior Member
    Join Date
    Dec 2006
    Location
    Hollywood, CA
    Posts
    1,756
    Gorgeous blacks.

    Great low light sensitivity.

    Amazing progress considering you're a two year old company, congrats RED team!
    Reply With Quote  
     

  2. #42  
    Senior Member J Davis's Avatar
    Join Date
    Sep 2008
    Location
    NYC
    Posts
    1,267
    Even more amazing than this reel is the fact that I can soon own one (mx) for 4750
    double plus wow !
    J.Davis
    jdMAX.com
    Reply With Quote  
     

  3. #43  
    Senior Member Pascal Scheffers's Avatar
    Join Date
    Dec 2008
    Location
    the Netherlands
    Posts
    208
    Quote Originally Posted by Graeme Nattress View Post
    It's not on the original 4k for sure.

    Graeme
    Goes to show that the whole workflow is important.

    Time for a rerender...

    Very cool reel. Want. Scarlet. Build one already! Any indication how the lowlight performance of Scarlet 2/3 compares to MX? It can't be as simple as divide by the surface area of the sensor, right?
    Reply With Quote  
     

  4. #44  
    Senior Member fALk Gärtner's Avatar
    Join Date
    Sep 2009
    Location
    Berlin/Germany
    Posts
    139
    It all looks amazin light wise and noise wise - also there is literally no skew in the longboard parkhouse scene that I can see.

    but whats wrong with the car side shot @ frame 717 - 762? The upper line of the car shows some serious artifacts - not only the aliasing which looks really wrong but also color shifts just below the aliasing? whats going on here? What formula did you use to scale this - is the same visible in the original 4k footage?

    Edit: Guess others had the same thought at the same time - but since they talk about the moiré and I talk about the aliasing I leave the question here - but both are probably caused by the same problem I guess.
    Reply With Quote  
     

  5.   Click here to go to the next RED TEAM post in this thread.
  #45  
    It's most probably the 4:2:0 nature of the h264 codec used to distribute the movie, and that's half the reason why RED4k is a necessity. Detail like that is really pushing up against what traditional distribution codecs can handle.

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

  6. #46  
    Quote Originally Posted by David Rasberry View Post
    If you look closely you will see a very fine crosshatch texture on the wheel surface around the logo. There will be moire near the Nyquist limit anytime two fixed patterns are overlaid, the pixel field and the surface texture in this case. You are seeing the Nyquist limit of 2k, not the camera original.
    To me this means the resampling algorithm did a horrible job. Would you say there should have been a low pass filter in there to fix that?

    I think they should re-render the down-sample because A LOT of people are gonna get the wrong idea who are currently frustrated with the Canon DSLR Moire issues and not realize this is a workflow issue and NOT a sensor/debayer issue!
    Rick Burnett
    ASYLUM STUDIO PRODUCTIONS
    Future SCARLET S35 #_______
    Reply With Quote  
     

  7. #47  
    Quote Originally Posted by Graeme Nattress View Post
    It's most probably the 4:2:0 nature of the h264 codec used to distribute the movie, and that's half the reason why RED4k is a necessity. Detail like that is really pushing up against what traditional distribution codecs can handle.

    Graeme
    Well I definitely cannot argue with that. I've spent some time converting footage from various formats into H.264 with a variety of options and have always been amazed at some of the issues it has.

    I wouldn't be opposed myself to installing a different codec to see this footage with less artifacts myself.

    And I'd like to SERIOUSLY add that the absence of large skewing or jello is absolutely awesome.
    Rick Burnett
    ASYLUM STUDIO PRODUCTIONS
    Future SCARLET S35 #_______
    Reply With Quote  
     

  8. #48  
    Senior Member J Davis's Avatar
    Join Date
    Sep 2008
    Location
    NYC
    Posts
    1,267
    If I scale a prores to another prores then go to h264 using a 1:1 ratio with no resizing,
    then the end result looks different to doing the whole thing in one step. Encoding h264 and resizing in one step
    could have caused it, moire could have been caused by any number of things.

    I highly doubt and sensor from red is delivering moire patterns in the raw
    J.Davis
    jdMAX.com
    Reply With Quote  
     

  9. #49  
    Quote Originally Posted by J Davis View Post
    If I scale a prores to another prores then go to h264 using a 1:1 ratio with no resizing,
    then the end result looks different to doing the whole thing in one step. Encoding h264 and resizing in one step
    could have caused it, moire could have been caused by any number of things.

    I highly doubt and sensor from red is delivering moire patterns in the raw
    I certainly agree, I think someone just needs to fix that render! :) I only bring it up due to the point there are 3 characteristic sets people seems to fixate on with CMOS sensors (for good reason)

    1. Moire / Aliasing
    2. Sensitivity (DR, noise floor, etc)
    3. Skew / Jello (Rolling shutter)

    There are obvious other characteristics as well that are important, I am just mentioning what items seem to be the pain in most peoples sides. The Canon and Nikon DLSRs with video fail 1 and 3 pretty bad. They are very good for 2. Red, theoretically (and I say this because its not in the hands of the consumers just yet) excels at 1, 2 and 3. That said, I still want to see it :)
    Rick Burnett
    ASYLUM STUDIO PRODUCTIONS
    Future SCARLET S35 #_______
    Reply With Quote  
     

  10.   Click here to go to the next RED TEAM post in this thread.
  #50  
    Got to say that if you're not watching the 4k in 4k for this reel, you're not seeing all the M-X is capable of. The new Sony projector we used to show it the other weekend was amazing, and the footage just shone!

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

Posting Permissions
  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts