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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

HDRx footage...

Gunleik Groven said:
Again, and I'll say it a third time on this thread:

Gee, did you see the motion in that clip????

HDR is cool, but GEEEEEEE!
Click to expand...

Oh, I'm with you Gunleik! I asked the question and have received no reply as yet - so I'm going to ask it again.

Is there a way to get that gorgeous motion without extending the DR? Either by invoking HDRx™ and setting the number of extended stops to zero or just by setting Magic Motion to on without HDRx™?

I have a feeling I'm not going to want to shoot without Magic Motion ever again.

Jim, you had me at hello!
 
Shane Betts said:
Oh, I'm with you Gunleik! I asked the question and have received no reply as yet - so I'm going to ask it again.

Is there a way to get that gorgeous motion without extending the DR? Either by invoking HDRx™™ and setting the number of extended stops to zero or just by setting Magic Motion to on without HDRx™™?

I have a feeling I'm not going to want to shoot without Magic Motion ever again.

Jim, you had me at hello!
Click to expand...

You need HDR to get "Magic Motion". But we agree with you... we LOVE it.

Jim
 
Shane Betts said:
Thanks Jim. So, can we turn it on at zero stops extra DR?
Click to expand...

Nope... you need at least +2 to see the effect. We had planned on beginning at +3 but probably will add +2 to the menu.

We saw it today for the 1st time in 4K (scaled down from 5K) and it looks magnificent. We can't wait to show people what this looks like. The things that impress me the most are (in no particular order):

1. Motion seems smoother... especially panning.
2. There seems to be more temporal resolution (if that was possible)...
3. The ability to use the "X" track for motion tracking
4. The incredible highlight protection.

You really need to see this on a 40' screen.

Jim
 
Jim, if I wasn't in Australia, I would have already knocked on the door. The Vegas post is impressive enough. 4K must look insane.

What frame rates will HDRx™™ for 5k @ 2 stops give us? Such a shame we're going to have to shoot at 15.5 stops DR at 5k at 5 pounds to SSD... Such a trial. :thumbup::thumbup::thumbup:
 
That all sounds awesome. Is that an invite to a special screaming at RED STUDIOS?
I need a reason to travel to SoCal as it starts to get chilly around here : )
 
Shane Betts said:
Jim, if I wasn't in Australia, I would have already knocked on the door. The Vegas post is impressive enough. 4K must look insane.

What frame rates will HDRx™ for 5k @ 2 stops give us?
Click to expand...

5K HDRx or EasyHDR will go up to 50fps. That's the plan.

Jim
 
Jannard said:
You really need to see this on a 40' screen.
Jim
Click to expand...

Seeing the mx footage on the 40' screen was out of this world, I can't imagine how crazy the HDRx footage is
 
JonFarhat said:
If I understand your question, you're asking if I saw it moving or just a still. The answer is YES, this was a full motion shot, 24 fps, projected in 4K - huge.

The motion blur was stunning. We stopped at specific frames, played it over and over - stunning. This was not just a still frame with motion blur.

j.
Click to expand...

I figured that part.

But the motion, even on the web-clip is soooo smooth.

To me that is the biggest biggie of the Vegas shot.

I like HDR, too, but the smooth motion is a real killer.
 
Mohammed El Sharqawy said:
3. The ability to use the "X" track for motion tracking

what is that?
Click to expand...

The "X" track is the short thousandths of a second exposure. As a result of such a short exposure you get a motionblur free pass.

Motionblur makes tracking difficult because something like a small dot turns into a long line with an indeterminate 'center'. It looks nothing like the original tracking mark. With this system you'll be able to take the x-Exposure and track a perfectly clean high resolution tracking marker. You'll then have to offset your track by Exposure*(1/2) seconds in order to center it in the regular exposure but it should be very reliable and easy to track as compared to a blurry morphing potentially overexposed tracking marker.

Another advantage that hasn't been brought up by Jim because I presume he he's keeping it secret or haven't had a chance to try it yet is to use the xExposure for the key and then apply optical flow motion blur to the alpha.

I've actually used this technique before on extremely difficult to key subjects such as bicycles and it's worked wonderfully where everything else failed. This will offer one more avenue of attack and data-source to mine for the compositor.

Now though we have to determine which is more advantageous in a shot: Lower compression or the xPass. FX sups are going to need to evaluate the trade-offs and see when each is appropriate. I assume we can't go mathematical Lossless and HDRx™™.
 
Gavin Greenwalt said:
Now though we have to determine which is more advantageous in a shot: Lower compression or the xPass. FX sups are going to need to evaluate the trade-offs and see when each is appropriate. I assume we can't go mathematical Lossless and HDRx™™™.
Click to expand...

Once you get below REDcode 5:1, the gains from going toward mathematically lossless become too negligible to be worth it.
 
Thank you guys for explaining the details about the motion blur, leading edge, and about its VFX implications. Now it makes sense and I understand why Gunliek was so head over heels about it from the get go. It is easy to see once you break it down like you guys did. I suppose we get both a sharp edge and the normal motion blur which the more I look at it the more I agree with what everyone is saying about it. It very well might start a new "trend". We saw the trends in HDTVs, everything is towards more detail, fake or not. I can see people "demanding" this new flavor once they become exposed to it. In any case, all of this is great and I am enjoying learning about it. Thanks to all.

Deanan said:
Once you get below REDcode 5:1, the gains from going toward mathematically lossless become too negligible to be worth it.
Click to expand...

Do you mean that even for those who might finish at 4k?
 
Only two years ago we were dreaming about this feature and few ideas were thrown around here on this forum.

http://www.reduser.net/forum/showpost.php?p=231210&postcount=35
http://www.reduser.net/forum/showthread.php?t=14126

I even made an experiment with two cameras set to two different exposure values to prove the point that blur could be controlled.

If you thinking of a digital camera sensor as a flat sheet of material pocked with millions of cylindrical, cuplike pixels. In other words, picture the digital sensor as a tiny cupcake tin.

Photons (light particles) pass through a camera’s lens and are captured by the cups in the tray. Each cup is either red, green or blue. The more photons a cup catches, the brighter that cup’s color. Totally empty cups record black; totally full cups record white.

I was thinking than, if I just could early read the content of these “cups” half the way or ¼ way before they will fill up full.

I would have a total highlight protection.

The cups value that would be totally filed after frame would be captured, would be discarded and replaced with the early read value of these cups or some more HDR like frame merger algorithm.

Two years ago it was just a dream.

Andrew
 
It was a pretty good dream Andrew.
I'm up for another test as soon as our Epics ship ; )
 
Hey! Ian, what is your next dream?
We have to get together one day to think about our next dream.
It is more and more difficult to have any more wishes for RED camera:-)
 
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