I thought I saw that detail start to come out during the fadeout at one point. It still would have been nice to grab some sky.
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I thought I saw that detail start to come out during the fadeout at one point. It still would have been nice to grab some sky.
Jendra,
Just to clear the air on our end, I think it would be great if we upload the before/after material when you are finished grading. As far as meta data in the files are concerned, I just received more meta data from Mike Curtis yesterday and it does take time to get all the information into each shot. I have just begun adding what was given to me, and will add the rest by tomorrow morning. As i receive more meta data, which is still supposed to be trickling in over the next few days, I will make sure it gets plugged into the files correctly.
Also, the Stiges Slow Mo shot is repaired and available in 1080p on Vuze in a graded form.
All of the data and explanations for each clip are coming in and being plugged into the files. There is more data from Mike Curtis in each file now and more to come soon. This way there will be no more confusion as to the files.
We just got the channel up and running and still are uploading content to it, so just give us another day or two to get everything into them accordingly.
I don't doubt you at all, Jendra, but these are two different takes, aren't they?I specifically meant to comment on one of the cathedral shots: "Alley into Cathedral." Because we were testing the dynamic range of the camera, we did not ride the iris. The shot is a one minute long Steadicam move. It starts in the shade of an alley, turns a corner to a bright open plaza and tilts up to the edifice of the pale stone gothic cathedral. Then we enter the dark cathedral all in one shot.
So for a continuous shot, and being one light dailies, we picked one overall Redalert! setting. When we grade this we will ride the grade and see more detail in the darks inside the cathedral, and yes, THERE IS DETAIL IN THE FACE OF THE CHURCH!
I'm getting in on this late.
There has been miscommunication, this stuff wasn't supposed to go live yet - exports to see how it was working, etc. I've been travelling - was in LA Friday, Austin Saturday, NYC now (2:30am). Cat is out of the bag at this point, Jendra is having to defend work she shouldn't have to, my bad, esp. before we talked about it, which I'd planned to do before anything went live, etc.
We're going to take it down until we can get it straightened out.
Patience all, and for those that have already downloaded what wasn't ready - patience, good post takes time.
-mike
If we could have access to R3D files we would know exactly and for sure what happened with each shot during recording.
But we are not able to get it and all the "circle of confusion" here at this tread is spinning around that.
It's like with a film:
If you don't get a negative in your hands and then you don't know is it the ORIGINAL over or under exposured during shooting/recording. :)
At the end what I wanted to add to the discussion that this camera (RED) and its sensor+metadata could be "treated" as a "certain film stock".
So you should do to learn about "not push" TOO MUCH...(your SENSOR/"STOCK") during recording and also
in "developing" of this metadata/"film" stock in REDCINE that is a bit "similar/equal" to the development of film in laboratory.
There are some VERY important parameters in all process of "fine tuning" of the exposure (in camera).
This could be written probably from somebody with more knowledge and technical education then me.
I wish to read SOON how Steven Soderbergh was shooting/dealing with RED.


BTW R3D files:
I rent my camera to my clients. Can they download and use REDCINE to develop R3D files if they are not RED camera owners?
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