1ST day scarlet 752- ISSUES PROBLEMS

[paolo baroni]

hallo! just got my scarlet
N.752 no name for now
based in Milan Italy
and today i was out testing the camera (firmware 3.0)
i've used nikons 20mm f2.8 and 28-70 f2.8
1 hour non stop drained 3 leds of the red brick, fair enough
i had no big issues except i had to reboot because at some point, after pushing magnifying button on the side of the screen, the screen went black but the camera was still on....no way to bring it alive again....after rebooting was fine again
i've noticed that if you are in the expanded focus mode with the screen and you hit rec the screen freezes and then there are some glitches among the onscreen infos....maybe is better to go back to normal framing before pushing rec.....i think this could be fixed in firmw updates....
i filmed test stuff : 2k-3k-4kHD
24p and 25p
iso 250 to 12800
very noisy over 3200....black sky is filled with blue and white dots
back home, playback straight to tv sony led via hdmi (hdmi out set to 1080p)
i can see aliasing in the diagonal lines at all formats
and for all the footage at 2k you can see a vertical line at around 1/5th of the screen from left side...it's really noticeable! looks like it's skipping part of the frame...i hope that's not the sensor but the downscaling in camera for outputting via hdmi
i'm offloading ssd now
i'll post any other issue if i'll have some
let me know if you have the same problems thanx
byyye

 

[Andrew Allsbury]

Something we have learned, the scarlet is NOT noise free and Red cameras do not have noise reduction built in. Shoot at 800 iso, crank/grade low light footage in post and use a good nr tool like neat video, 95% of the time your results will be stellar, the other 5% was when you should have lit the scene better. The aliasing is being caused by the downscaling in camera for hdmi, no worries. We too were a little disappointed with the red brick performance, but still a lot better than redvolt via sidehandle. Good luck with your new camera!

 

[Riccardo Bertoni]

Looks like you didn't black shade, didn't black shade properly or you're not using color temperature correction filters. For clean results, even at high isos (1600 - 3200) you should always leave the electronic white balance setting @ ~5000k.

 

[Noah Yuan-Vogel]

Looks like you didn't black shade, didn't black shade properly or you're not using color temperature correction filters. For clean results, even at high isos (1600 - 3200) you should always leave the electronic white balance setting @ ~5000k.

As long as it is more important to you to reduce your noise than it is to have images that are not all orange...

 

[Riccardo Bertoni]

As long as it is more important to you to reduce your noise than it is to have images that are not all orange...

You should really read again what I wrote... and I've always used this technique, from daylight film to digital acquisition (on my Nikon still cameras)... what I meant was that the sensor should always see ~5000k.

 

[Mark Kern]

What does the color balance have to do with how clean the image is on a RED sensor? The sensor is native at 5k, everything else is just meta. Or is my understanding incorrect?

 

[Riccardo Bertoni]

Since the sensor is native at 5000kelvins, if you shoot a 3200k source the blue channel will need a compensation, otherwise you'll get, as Paolo noted, blue dots, pretty simple. Applies also the other way around (from above daylight to daylight)

 

[Scott Snare]

Generally its not good to starve the camera sensor blue channel by shooting tungsten, the effect is to create a lot of blue channel noise under low light conditions. The sensor is rated for 5000 and that is were you will see the best results. That said Tungsten lighting is used everyday with great results, just be careful and test when the light levels get low. I've found that having a little blue in the frame on tungsten shots seems to activate the sensors blue channel and creates better results.

 

[Robert L. Mickles]

Congrats on recieving your camera.

 

[Craig Wright]

Generally its not good to starve the camera sensor blue channel by shooting tungsten, the effect is to create a lot of blue channel noise under low light conditions. The sensor is rated for 5000 and that is were you will see the best results. That said Tungsten lighting is used everyday with great results, just be careful and test when the light levels get low. I've found that having a little blue in the frame on tungsten shots seems to activate the sensors blue channel and creates better results.

This point may be way off so please forgive a beginner. Based on your above point does this mean if my light is dictating 3200K (and potentially low light) and I am wanting to colour match a scarlet to other cameras (non scarlet) in a live shoot (where post is unrealistic), in order to get best results and ensure correct colour balance across each camera I may be better shooting the scarlet at 5000K and then use a filter to re-color my shot? I know there a lot of if's and quite likely an unrealistic scenario . . . .

 

[Mark Kern]

Oh, interesting! That explains why our Instructor at REDucation explained that adding a little daylight or blue to a tungsten shot will help make a cleaner image.

 

[paulherrin]

you should always light according to the instrument you are using. it's as simple as that.

and blackshade your red, that's a part of using the technology.

 

[Noah Yuan-Vogel]

You should really read again what I wrote... and I've always used this technique, from daylight film to digital acquisition (on my Nikon still cameras)... what I meant was that the sensor should always see ~5000k.

Technique of not whitebalancing? I understand that the R G B channels are more most evenly exposed when shooting in conditions with 5000k lighting, but that is not always practical, and without white balancing, tungsten or other environments far below 5000k will come out very orange, so the only other option is optical filtration which is not practical in low/limited lighting situations and others. Sometimes you have to white balance. Am I misunderstanding your technique?

 

[Riccardo Bertoni]

Technique of not whitebalancing? I understand that the R G B channels are more most evenly exposed when shooting in conditions with 5000k lighting, but that is not always practical, and without white balancing, tungsten or other environments far below 5000k will come out very orange, so the only other option is optical filtration which is not practical in low/limited lighting situations and others. Sometimes you have to white balance. Am I misunderstanding your technique?

Yes, I try to avoid WB as much as possible (and any post filtration like fake nd grads, color effect filters etc.), or at least get as close as possible to 5000k. If you absolutely need to shoot @ 3200k or even below, it can be done with white balancing, and it looks great (just not as clean or sharp). For example, if you're doing a multi-camera event (together with non-reds), as Craig suggested, 1st you won't notice any noise since you're probably delivering 1080p, 2nd if the other cameras are cmos, I bet they show the same noise artifacts in the blue channel.

 

[Craig Wright]

In low light am I better off colouring (filtering) my shot and increasing the ISO or no colour filter and adjusting the white balance. I imagine it comes down to what is the lesser of 'two evils' - either moving away from the sensors native colour balance or 'preferred' ISO . . .