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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 :)

Shooting hdrx, camera feedback?

Joel Arvidsson

Joel Arvidsson

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When you shoot hdrx and ad +3. Can you get a prewiew on this, in camera or not?
If not, do I shoot "ordinary" and just know i saved 3 stop of detail in the highlights?
 
Joel Arvidsson said:
When you shoot HDRx™ and ad +3. Can you get a prewiew on this, in camera or not?
If not, do I shoot "ordinary" and just know i saved 3 stop of detail in the highlights?
Click to expand...

The latter...

Jim
 
Thanks Jim. Can't wait to start working with hdrx!
Than again you could increase the f-stop to se how much details you would gain, and then decrease it back.
 
This is what makes the Epic a Professional camera, IMO. The camera automates so many things that a blind squirrel will eventually get a shot of a nut, but those who become so familiar with their cameras that they can "see" what the HDRx will look like will be the ones who make the best images.
 
Pietro Impagliazzo said:
Jim, any problems that forbid a mode to preview what HDRx™ is actually capturing?
Click to expand...

Well, maybe you can solve it easily: stop down a bit, before recording.

Just imagine, you got a blown-out sky, just stop down in "normal mode" till it's OK, calculate how much stops you needed, then go back to the original, and set HDRx to the calculated value.

I think it's simpler not to overload the camera with combining normal-HDRx footage during recording/playback. After a few test, I think everyone will simply trust in HDRx, even if you see blown-out spots, you will now that HDRx covers your (a**)....shot.
 
I've said it before and I'll say it again...maybe I'm totally wrong, but I think that for 99% of situations most people will find that +1 or +2 HDRx is even more than what they need. Sure, it's great to have options and hats off to Red for working so hard to provide those, but unless someone is in that 1% of situations or needs a higher setting for creative reasons, I think that most people will just hit the HDRx button when they want to be absolutely sure highlights are well protected. According to Jim, Epic has 13.5 stops of latitude (or even more), Alexa has slightly more, and other camera manufacturers are probably aiming at the same target for their cameras to be released in the near future. Maybe it's just me, but how much latitude do you really need? Look at the Steve Gibby/Ketch Rossi shot of the Zion canyon...no HDRx, and it's just beautiful and rich.
Just my 2€cents...
 
1st off... 99% of the situations don't need HDRx. Native EPIC DR is enough. When I do get a situation that I think could use some help... I set normal exposure by eye on the monitor (glancing at histogram) to the heart of the scene. I then use exposure check to see if anything is blown. If it is, I rack down the aperture until it isn't and see how many stops that was. If it was two stops, I select HDRx +3 for some elbow room. Pretty quickly you get a sense for this... it really isn't hard to tell when you need it and how much to use. My only suggestion is to use only what you need +1.

I'm sure people will discover their own method how to use HDRx. It will be interesting so hear what people do when the cameras are out in force.

Jim
 
Assuming we can't see a preview of both exposures combined, it seems like it would be better to see the highlight stream, with the blacks stretched in a LUT. That way you can see for sure that your highlights aren't blown, but the shadow noise will just be higher than what HDRx will do.
 
Jannard said:
1st off... 99% of the situations don't need HDRx™. Native EPIC DR is enough. When I do get a situation that I think could use some help... I set normal exposure by eye on the monitor (glancing at histogram) to the heart of the scene. I then use exposure check to see if anything is blown. If it is, I rack down the aperture until it isn't and see how many stops that was. If it was two stops, I select HDRx™ +3 for some elbow room. Pretty quickly you get a sense for this... it really isn't hard to tell when you need it and how much to use. My only suggestion is to use only what you need +1.

I'm sure people will discover their own method how to use HDRx™. It will be interesting so hear what people do when the cameras are out in force.

Jim
Click to expand...

Out of curiosity, what do you like to shoot for fun? subject wise.
 
Francesco Bonomo said:
I think that for 99% of situations most people will find that +1 or +2 HDRx™ is even more than what they need.
Click to expand...

I am more excited about the sharpness of the X track (due to the faster shutter speed) and what that means for motion tracking, stabilization and programs like Twixter. In that case it may help to go up to +6 for sharpness alone...if you have enough light that is. Can't wait to test this stuff.
 
Well, one of the first things I would consider is filming scenes that don't need HDR, to see what it might offer. This analogy has yet to be verified as being exact, but a flat neg printed on a contrasty paper is quite different from a contrasty neg that is printed on a soft paper. Similarly, a "flat" scene and a scene depicted as flat are different things, and so on and so forth. This approach might not be desirable most of the time, nonetheless, I look forward to torturing it into confessing one thing or another. ( :
 
timurcivan said:
Out of curiosity, what do you like to shoot for fun? subject wise.
Click to expand...

I have a different answer today than not long ago... now I'm mostly shooting test builds (firmware), test charts, difficult lighting situations, HDRx opportunities and stuff that tries to break the camera. I hope I can get back to shooting more fun stuff soon. Right now we are working 24/7 to get EPIC finished and out the door.

Jim
 
Just imagine 8000 Epics out in the wild......or more!
 
Jannard said:
Right now we are working 24/7 to get EPIC finished and out the door.

Jim
Click to expand...
Jim, I feel that we'll all have to deserve to own an EPIC after what you guys did in order to build this amazing camera... In some way, I also feel obliged making the best movies I can. It's a privilege being part of such a great journey.
 
Jannard said:
Right now we are working 24/7 to get EPIC finished and out the door.

Jim
Click to expand...

your one of the few people who say's this and i actualy belive it's true. your posting habits alone has made me question if you ever sleep.
 
I won't sleep until EPIC is out... neither will an Army of RED folks.

Jim
 
Jannard said:
I won't sleep until EPIC is out... neither will an Army of RED folks.

Jim
Click to expand...

At the risk of pausing the inevitable revolution, maybe sleep might not be such a bad idea Jim?
Charts can begin to look a little fuzzy at 2am....
 
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