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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 :)

M8 (aka 008)...

Mark L. Pederson said:
Projected on a large screen - it is shocking. The key difference is detail. I'm blown away every day. I'll be back posting lots soon - funny thing happens when get an EPIC - being on the internet is lot less exciting.
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Its about time you posted here Mark :)

Our color team in L.A. for this edited piece worked on large calibrated 4k and 2k screens - and I'm sure they will second your impression of the incredible detail present in our Epic 5k footage.

None of that surprises me. During the last National Geographic special I worked on as an executive producer and DP, we had two different studios we worked at daily when we weren't out in the field. Each of those studios was equipped with a Sony SXRD 4k projector, huge screen, and an incredible audio system, and giant comfortable reclining chairs. That's how we reviewed our Red 4k footage prior to editing, and afterward, before resampling it down to masters. The detail in the 4k Red footage projected in 4k was just simply stunning. The detail in Epic 5k footage, resampled down to 4k for projection is even more stunning.

Have fun out there with Epic M7. But then I don't need to tell you that, I'm sure you have been :)
 
KETCH ROSSI said:
LOL, so true, were have you been Mark,... no internet on those flights?
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Been rather busy. Lots of stuff to share very, very soon.

FYI - BOND is headed to Milan on Monday. Since you are running around in the desert - I figured someone needed to shoot some Italian fashion in 5K :w00t:
 
Mark L. Pederson said:
FYI - BOND is headed to Milan on Monday. Since you are running around in the desert - I figured someone needed to shoot some Italian fashion in 5K :w00t:
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Hmm...OK Ketch, we tricked Mark into leaving town! Nows our opening to invade New York and shoot our 5K Big Apple footage :party:
 
I would expect the Epic to be able to gain more DR (than a R1 MX) from the MX sensor based on Epic´s higher bitrate, have you seen any signs of this?
 
We didn't do any bench tests for that Eirik, but I did all the shooting in Utah with M8, and I would guess that your expectations are correct.
 
Eirik Tyrihjel said:
I would expect the Epic to be able to gain more DR (than a R1 MX) from the MX sensor based on Epic´s higher bitrate, have you seen any signs of this?
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The only advantage to more bit rate is less compression artifacts, which is not very significant between REDCODE 42 (about 7.5:1) and normal EPIC compression around 5:1).

ANy pickup in DR would mostly be based on a less noisy image due to more efficient boards... there is some but I wouldn't expect a big pickup native. Big pickup is HDRx.

Jim
 
Thanks for that insight Jim...

Since I wanted to check out the native sensor, I didn't shoot any HDRx in Utah. In the darker areas of the sequences I shot, we definitely experienced low noise - even in the dark tunnel driving sequence. Those boards are very efficient..

All of what I shot in Utah was compression 10:1 - because that's probably the compression I'll use most in the mobile genres I work in. 10:1 provides great looking images that don't require me to take too many SSD out there with me. The detail in the shots I did was incredible at 10:1 - so at 3:1 I'm sure it would be amazing.
 
Jannard said:
The only advantage to more bit rate is less compression artifacts, which is not very significant between REDCODE 42 (about 7.5:1) and normal EPIC compression around 5:1).

ANy pickup in DR would mostly be based on a less noisy image due to more efficient boards... there is some but I wouldn't expect a big pickup native. Big pickup is HDRx™.

Jim
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Jim, wouldn't a higher bitrate also improve the rendering of dark values? And therefore allow more grading finesse in the dark values and therefore give more DR in the lower end of the of the scale? Or is that an insignificant gain?
 
Jannard said:
The only advantage to more bit rate is less compression artifacts, which is not very significant between REDCODE 42 (about 7.5:1) and normal EPIC compression around 5:1).

ANy pickup in DR would mostly be based on a less noisy image due to more efficient boards... there is some but I wouldn't expect a big pickup native. Big pickup is HDRx™.

Jim
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Good info! Will I be able to record 7.5:1 on Epic? I saw so little difference from RC28->RC36->RC42 on Red MX that I think 7.5:1 is all I'll need on Epic, I dont see why anyone would want 5:1 (much less 3:1) unless you massive detail infinity focused landscapes, greenscreen or fx plates.
 
Mark L. Pederson said:
Been rather busy. Lots of stuff to share very, very soon.

FYI - BOND is headed to Milan on Monday. Since you are running around in the desert - I figured someone needed to shoot some Italian fashion in 5K :w00t:
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He he, goo call Mark, yeah M8 was invited, but She is been pre-bucked in the US, so I'm happy that you are going, enjoy it ;)


Steve Gibby said:
Hmm...OK Ketch, we tricked Mark into leaving town! Nows our opening to invade New York and shoot our 5K Big Apple footage :party:
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He he, in deed Steve, we do have two shoots in NY, but was hopping to meet up with Mark @ OffHollywood, I guess next time ;)
 
KETCH ROSSI said:
He he, in deed Steve, we do have two shoots in NY, but was hopping to meet up with Mark @ OffHollywood, I guess next time ;)
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After seeing Mark's Aerial frame, I was kind of hoping you guys would get into some kind of one-up contest. You know, "My Zion shot is better than your urban canyon..." "Oh yeah? My Italy shot is better than your snow..." the footage would be spectacular, and you'd hear the rest of us cheering at every new frame.

I'm loving every shot you guys have put out there. The detail and DR is just taking my breath away. I know this has been a huge amount of work for you all. Thank you for sharing your time with us.
 
D Fuller said:
After seeing Mark's Aerial frame, I was kind of hoping you guys would get into some kind of one-up contest. You know, "My Zion shot is better than your urban canyon..." "Oh yeah? My Italy shot is better than your snow..." the footage would be spectacular, and you'd hear the rest of us cheering at every new frame.

I'm loving every shot you guys have put out there. The detail and DR is just taking my breath away. I know this has been a huge amount of work for you all. Thank you for sharing your time with us.
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He he, no contests here, we love each other, but we will shoot Epic M8 till either the camera or We, DROP!!

Trust me when I say that this next 8 Shoots coming up for EPIC M8 will be something not to miss ;)
 
KETCH ROSSI said:
Ha ha... Priceless Post!!

Thanks Mike ;)
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Well, I've just done a deal to lease/purchase an un-executed R1... so hopefully a bit later this year when Stage 3 starts I'll be opening my own box ;-)

I decided the numbers added up for me and it made more sense going EPIC than Scarlet :-)

Mike
 
I noticed on the video, even in a room, the fan noise - until you hit record - was a bit loud. So, Im wondering what if one is shooting in the Bahamas in 100 degrees for 1 hour with no or little breaks... am I gonna fry the camera?

Since, I'm really looking at the Scarlet, which should be cooler literally with a smaller chip - less heat... Should I worry about shooting on 100 degree beaches for an hour or so? My Nikon melted... it wasn't working - it over exposed everything even though I was on manual trying to fix it and my EX-1 seemed to add a ton noise due to the temp.

I want to buy an Scarlet, but will it fry shooting in 100+ degrees for hours at a time?
I'm sure if Epic will, Scarlet will... A few more questions... will the camera shut off before it fries like a humidity indicator - which happens in the tropics?

I'm very nervous about frying my new RED Scarlet, so will it protect itself from heat and humidity, or do I need a cold pack. Thanks.

Lastly how long do the grip only batteries last in the scarlet shooting 2k at 30fps?
 
Greg Voevodsky said:
I noticed on the video, even in a room, the fan noise - until you hit record - was a bit loud. So, Im wondering what if one is shooting in the Bahamas in 100 degrees for 1 hour with no or little breaks... am I gonna fry the camera?

Since, I'm really looking at the Scarlet, which should be cooler literally with a smaller chip - less heat... Should I worry about shooting on 100 degree beaches for an hour or so? My Nikon melted... it wasn't working - it over exposed everything even though I was on manual trying to fix it and my EX-1 seemed to add a ton noise due to the temp.

I want to buy an Scarlet, but will it fry shooting in 100+ degrees for hours at a time?
I'm sure if Epic will, Scarlet will... A few more questions... will the camera shut off before it fries like a humidity indicator - which happens in the tropics?

I'm very nervous about frying my new RED Scarlet, so will it protect itself from heat and humidity, or do I need a cold pack. Thanks.

Lastly how long do the grip only batteries last in the scarlet shooting 2k at 30fps?
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These cameras work as well as any digital camera in the heat... and much better than DSLRs which are not really made for motion. If you want to shoot a 5K silent one hour take in 100 degrees... you probably will need supplemental cooling. I'm just not sure of the circumstances that you would want to do that. If you want to shoot several short takes in 100 degrees, you'll have the fans set to a higher speed when in standby. If you are not shooting sound, you can turn the fans up and shoot very long takes in high heat. If you are shooting high frame rates, heat management is more important than 24fps. If you shoot 3K instead of 5K... heat management is less critical.

So... yes, there is a limit just as with every camera. But you can use these cameras in just about any situation and make them work.

Conversely, if you are shooting in the cold you will likely turn the fans down or off (very cold). There is an AUTO setting that will help you through this. The range of these cameras is very wide. The fans are designed to keep you in the range. Remember that you have the capability to shoot 5K at 120fps. That is a miracle in and of itself. The fan management is part of what lets you shoot this kind of data at 100F.

In room temperature... you can set the fans to be very quiet in standby and silent for recording. Silent recording is an option at all temps. The hotter it gets the higher the fans should be in standby.

Everyone was afraid of the RED ONE over-heating. We haven't heard a single complaint for years. This is partly due to heat management system we put in and partly due to the fact that customers have recognized when they need to step in and put a white umbrella over the camera when it sits in the desert all day.

Jim
 
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Greg Voevodsky said:
I noticed on the video, even in a room, the fan noise - until you hit record - was a bit loud.
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:Sigh: I guess I'm the one to blame on this. I actually adjusted audio to accentuate the fan noise, in wanting to let people know that the fans DO go entirely quiet during recording. I unfortunately did not factor in the idea that someone might come away with the opposite feeling of a fan being "too loud" while not recording.

The fan is not at all unreasonably "loud". And that's without factoring in how much horsepower that is being used within such a small container...
 
Steve Gibby said:
Thanks for that insight Jim...

Since I wanted to check out the native sensor, I didn't shoot any HDRx™ in Utah. In the darker areas of the sequences I shot, we definitely experienced low noise - even in the dark tunnel driving sequence. Those boards are very efficient..
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Wow, I thought the canyon shots with lots of shadow/sunlit areas had were at least mildly HDRx™-ed. What time of the day did you shoot them?
 
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