1st Scarlet....

[Kyle Gentz]

http://www.flickr.com/photos/70217875@N02/6378906489/in/photostream
http://www.flickr.com/photos/70217875@N02/6378905077/in/photostream

Huge difference.

 

[Andrew Salter]

Ok Guys and Girls won't to know why l want to use scarlet. A quick test. Sony FS100 AVCHD imported to Pro Res HD442 1080 blown up 500%. White flowers very kindly from Tonaci our through REDCINE X converted to Pro Res 422 1080 blown up 500%.

Now look at the difference!!

Hope attached Now

 

[Andrew Salter]

Big Big difference, as l know a lot of Scarlet users will going the 1080 route, thought it would be good to show the difference.

Tonaci flower shot was on ISO 800 I think
FS 100 was 12DB

Still chalk and cheese.

 

[Joel Arvidsson]

Ok Guys and Girls won't to know why l want to use scarlet. A quick test. Sony FS100 AVCHD imported to Pro Res HD442 1080 blown up 300%. White flowers very kindly from Tonaci our through REDCINE X converted to Pro Res 422 1080 blown up 300%.

Very nice and if you done the zoom before downrez to 1080 it would look better.

 

[Eric J Kosinski]

Big Big difference, as l know a lot of Scarlet users will going the 1080 route, thought it would be good to show the difference.

Tonaci flower shot was on ISO 800 I think
FS 100 was 12DB

Still chalk and cheese.

Very nice and thanks. It would be best to see the same shots at exact specs done with this option just for a better test. however we all appreciate the details. If it isn't done before I get my scarlet I'll do some of those.

 

[Andrew Salter]

Good point Eric,

Here are the same shots at 100% still a huge difference.

FS100 ProRes 422 1080p HD
Scarlet ProRes 422 1080 24p HD care on Tonaci

 

[John Tissavary]

Congrats Tonaci! Another great weapon in the arsenal...


JT

P.S. Give me a shout sometime, I'm in NYC these days....

 

[Josef Gatti]

I'm not sure if it's this shitty 4:3 90's monitor at work but I'm not convinced just yet. Were these shots taken while it was overcast? Seems a little desaturated

 

[Eric J Kosinski]

Good point Eric,

Here are the same shots at 100% still a huge difference.

FS100 ProRes 422 1080p HD
Scarlet ProRes 422 1080 24p HD care on Tonaci

Very nice. The scarlet pic looks very clean.

 

[Adam Levins]

One is an indoor night shot the other is full glorious San Diego daylight. The scarlet with RAW is going to be way better if course, but lets try and keep it above the belt.

Good point Eric,

Here are the same shots at 100% still a huge difference.

FS100 ProRes 422 1080p HD
Scarlet ProRes 422 1080 24p HD care on Tonaci

 

[Tonaci Tran]

I am working on getting the second video up. I have to jump on a plane tonight so it will be a tight squeeze. I'll be back.

Scarlet X at 3k 48fps - Frame grab.

 

[Phil Holland]

Here's a neat trick that really shows off Scarlet X's (and Epic's) color depth, the power of RedCode, and overall image quality.

Grab one of Tonaci's flower shots and crack open RedCine-X Pro. Grab the regular saturation slider and max it out. Then go to Post:Look:Effect:Saturation and crank that to max as well. This is not something you would do in "reality", but the fact that the material holds up after all of this insane pushing is damn near a miracle. I honestly haven't worked with material prior to RedCode that could hold up to this sort of torture and still produce an image suitable for projection.

Here's a Tonaci's shot maxed out through RedCine-X Pro as described above:

And even more insane, pushed 100% further in a post 16bit color environment:

Again, absolutely something that would likely never happen to material in post, but the fact that you can produce such a vibrant and rich surreal vision right out of the box is madness.

I'm an experienced color guy and I have used a lot of high end through low cameras out there and there aren't many that can survive a stress test such as this. Especially once a lossy codec gets into the mix.

Combined with very impressive dynamic range performance, if this doesn't sell somebody on RedCode/Red I don't know what will.

 

[Anthony Vu]

Wow Phil! That is a great test. I remember doing this test to R3D footage in the store once and was blown away how well the footage held. Many other "lossless" codecs would have caved under these circumstances. Well done Phil!

 

[Carter Cammack]

Can we save all of Phil's posts in a book or something?

 

[Peter Corbett]

Good point Eric,

Here are the same shots at 100% still a huge difference.

FS100 ProRes 422 1080p HD
Scarlet ProRes 422 1080 24p HD care on Tonaci

Sorry I'm not getting it; comparing an outdoor shot of a flower on one camera with an interior shot of musicians on another camera. Is this for real? It's pointless.

 

[David Rasberry]

Sorry I'm not getting it; comparing an outdoor shot of a flower on one camera with an interior shot of musicians on another camera. Is this for real? It's pointless.

Look at the 300% blow ups of those two images posted before the full frames and you will get the point pretty quickly.

 

[Andrew Huse]

I am working on getting the second video up. I have to jump on a plane tonight so it will be a tight squeeze. I'll be back.

Scarlet X at 3k 48fps - Frame grab.

You're in San Diego

 

[Joel Arvidsson]

Now when i seen the full picture of the fs100 I must add that it would be better if zoomed in the singer that were in focus.

 

[Joel Arvidsson]

The boat is a picture was a good choiche. Lots of fine details. Thanks!

 

[BrandonChristensen]

Can we save all of Phil's posts in a book or something?

Barry Green: The Sequel