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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 :)

Scarlet-X 120 FPS with m-60 firecrackers

That was a thing of beauty. Nothing like a good prank - especially at 120fps
 
Very noisy at 1:01 and a few other places. What is it that causes this noise, the compression or just that you're zooming in on the sensor? This seems to be a bit of an Achiles heel of Red at the moment - 5k and 4k are excellent, but those wanting to use the higher frame rates by going to 2k or even 1k need to be cautious?
Steve
 
All of the footage was noisy, and or soft, and we shot on the 17-40mm Canon L glass. When I brought the footage in to RED Cine-X, I crushed down the blacks as much as I comfortably could, to get out some of the noise and turned the sharpness all the way up. I can't imagine a professional (broadcast) use for 120fps at 1k from the Scarlet-X, now having shot with it and worked with the footage, but as I write this, I am curious as to what a black shading calibration at 1k running 120fps would do for the noise, on a future shoot.
 
Thanks Josh - certainly didn't mean to just mention a negative, but that's what caught my eye and it's an area of interest to me.
I had pretty much considered that 1k would be of no use, but I get the feeling that the 2k may be borderline too?
It's a bit of a tricky area, on Epic too, in that you can grab headlines by talking about 240fps or 400fps but if they're not really useable for serious work then in practical terms they don't really exist.
I went on a shoot with an Epic and shot a lot of 2k at 240fps, but I made sure I shot plenty at 120fps in 4kHD as I couldn't get an absolute, definitve answer as to how acceptable the 2k would be - both in terms of personal satisfaction and also broadcast spec. Hopefully it'll be good enough (ie as good as something like a Varicam or other broadcast-approved HD video camera).
Steve
 
I plan on doing some more fun, slow motion tests later in the week. Considering we'll shoot everything at 1k WS 120fps, might as well try the black calibration test at those settings. I'll even balance for warmth and a low iso (320) to really see how little noise I can capture, at this cameras optimal settings.
 
Presumably it would also be wise to expose right up to the limit of highlights clipping, even if this looks well over-exposed, this will give least noise in the shadows while allowing you to knock down the highlights in grading - the beauty of RAW surely?
Steve
 
I've been doing some work with 2K 60fps for a documentary I'm working on and I definitely notice an increase in noise, however with the ISO at 400, WB at 5600, and shooting FAR to the right of the histogram, sometimes even clipping a bit, it's been getting rid of a lot of the noise. I did a sunset shoot and haven't gotten to see it on a 1080p monitor yet (I'm on my mb pro which I believe is slightly better than 720p) but the results were much better than some earlier stuff I shot at 60fps. With some post noise reduction it looks a lot better.

I've had some interesting issues with some canon glass and softness as well. The sensor crop, despite having the same number of pixels in a smaller space as a DSLR (more pixels actually), seems to be softer than stuff I'm shooting on dslr's (in the right conditions, most of what I do is documentary work, which can make it hard to be 100% sharp outside of interviews).

I definitely need to do a lot more testing, but I think you can absolutely get a quality image out of 2K. Maybe not what you would want as a DP, but would satisfy nearly anyone.
 
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