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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 :)

Tip...

Would it be possible to assign to one button 2 functions; i.e. Swap to raw mode AND false color - and then go back to the original setting?

(Coming to think of it, it'd be great to assign "2k AND max frame rate" and "4k AND project base frame rate" to another userbutton. )

If it isn't possible or feasible, no worries. The camera is fantastic no matter what.

And: Thank you for listening. And caring.
 
I Bloom said:
Amen.
Click to expand...

Yeah. I hate to say it, but I've NEVER used false color. Ever. Because I can't toggle to it easily since I use the Edge Focus Assist constantly.

I'm sure that'll be fixed in EPIC. Luckily I've got exposure pretty well figured out on the camera without False Color.
 
Jannard said:
Seems simple... but.

The way the DSP is set up, the histogram and false color follow the RAW, RGB selection and are dependent. We have been trying to figure out a workaround to this.

We got a lot of things right with our 1st try at building a camera... but not everything. Lots of things will be different with Scarlet and EPIC.

Jim
Click to expand...

I'd say you definitely got false color right in terms of being able to shoot an entire day without a light meter. Coming from film, that's been a trip man.

Look forward to Epic like everyone else, but Build 21, REC 42 and Red Pro Primes on A and B cameras shooting 2:35 to 1 on the river yesterday was awesome.

if the RED ONE was all you made,many people would still be happy. I know I would.
 
Chris Bell said:
I would love to be able to toggle between false color and focus assist with one button. Both are very important to great images... I wish I had both without having to go into the menus.
Click to expand...

I agree this would be GREAT !

Cheers, Tim.
 
Jannard said:
Seems simple... but.

The way the DSP is set up, the histogram and false color follow the RAW, RGB selection and are dependent. We have been trying to figure out a workaround to this.

We got a lot of things right with our 1st try at building a camera... but not everything. Lots of things will be different with Scarlet and EPIC.

Jim
Click to expand...

That makes sense, but I was responding to the request for a way to switch between false color and edge highlight without going into the menus. In my experience edge highlight is the most common focus assist that is used, so much so that when people refer to "focus assist" I assume they mean edge highlight. Having to go into the menus to change false color to edge highlight forces you to chose one or the other for quick checks. They are both really important tools and this seems like it would be a really simple UI fix.
 
Jannard said:
In case you didn't know...

If you are monitoring in RAW, the histogram and False Color are RAW.
If you are monitoring in RGB space (REC 709 or REDspace) the histograms and False Color are in the selected RGB space.

You can set up a user button to switch back and forth between RAW and RGB space.

I have become a real fan of False Color, but I want to know what it is doing in RAW even though I monitor in RGB. This is a handy way to do that.

Jim
Click to expand...

That's all folks!

RAW1.jpg

RED RAW: Shot on RED1 with Leica-R 24mm f/2.8 @ f/4, Filters: Formatt Circ-Pola,
R1 HD-SDI preview @ 720p output scaled @ 1080p on HP LP2480zx DreamColor 30-bit LCD monitor using AJA Hi5-3G HD-SDI to HDMI converter.

RAW_FC1.jpg

RED RAW False Color: Shot on RED1 with Leica-R 24mm f/2.8 @ f/4, Filters: Formatt Circ-Pola,
R1 HD-SDI preview @ 720p output scaled @ 1080p on HP LP2480zx DreamColor 30-bit LCD monitor using AJA Hi5-3G HD-SDI to HDMI converter.

RSP1.jpg

REDspace: Shot on RED1 with Leica-R 24mm f/2.8 @ f/4, Filters: Formatt Circ-Pola,
R1 HD-SDI preview @ 720p output scaled @ 1080p on HP LP2480zx DreamColor 30-bit LCD monitor using AJA Hi5-3G HD-SDI to HDMI converter.

RSP_FC1.jpg

REDspace False Color: Shot on RED1 with Leica-R 24mm f/2.8 @ f/4, Filters: Formatt Circ-Pola,
R1 HD-SDI preview @ 720p output scaled @ 1080p on HP LP2480zx DreamColor 30-bit LCD monitor using AJA Hi5-3G HD-SDI to HDMI converter.





Why HD-SDI preview with HP LP2480zx DreamColor 30-bit LCD monitor?

Because is the best quality and the most affordable computer LCD that can be "HD-SDI enabled" monitor via HDMI input at 1080p.

Why to use AJA Hi5-3G HD-SDI to HDMI converter with it?

Because it fixes HP LP2480zx DreamColor connection and it can easily convert PsF into true progressive and can deliver a real time RGB signal over HDMI.


...


...


...
 
I asked in another thread, but got no reply.

Please can anyone tell me what the "rainbow" display to the left of the RGB "traffic lights" is for?

It is not mentioned anywhere in the user guide (unless I am going blind).

Perhaps Noah knows about it?
 
Antony M said:
I asked in another thread, but got no reply.

Please can anyone tell me what the "rainbow" display to the left of the RGB "traffic lights" is for?

It is not mentioned anywhere in the user guide (unless I am going blind).

Perhaps Noah knows about it?
Click to expand...
It shows you the RAW exposure. If you see Red it means somewhere in the image you are clipping or on the brink of clipping. Purple means you are very dark and any information there will be noisy if you try to bring it up in post. Of course sometimes you have to clip an image, such as a shiny metal knife reflecting a light directly into camera. You simply can't expose for that knife. As such you have too use it in conjunction with your histogram too the left of it and flick between RAW and your colourspace too make sure you are happy that you have the best overall exposure for everything in the image.

The 'rainbow' display also relates to your false colour so if you turn this on, when viewing RAW, you can see exactly where the red part that is clipping belongs in the image. You can then make a judgement call as too whether you're happy with how it's clipping. If it's purple then it is getting too dark to be useful information.

Paul
 
Jannard said:
Seems simple... but.

The way the DSP is set up, the histogram and false color follow the RAW, RGB selection and are dependent. We have been trying to figure out a workaround to this.

We got a lot of things right with our 1st try at building a camera... but not everything. Lots of things will be different with Scarlet and EPIC.

Jim
Click to expand...

All diagnostic-/exposure-/image-tools primary from RAW data will be a biggie that really kills off a lot of consulting business... And that's good!

Should be switchable, though (with a big warning), for those special occations when overexposure really isn't that much of an issue...
 
I LOVE false color. Works for the way my brain is wired.
I never use the focus assist.
;)
I guess we're all different.
I would like very much the ability to disable the rainbow and the traffic lights. Not useful for me.
In fact, having the histogram (or better yet a waveform) take up the whole bottom of the screen for better detail, and putting the drop frame, media, and battery counter on the side or on top might have been better. The histogram is pretty tiny...
Cheers,
Harry
 
I have found that when in doubt a cf card and quick test is the best way to make sure. That is why i love this camera if I ever have a question about the way it will look I quickly shoot a sample export it and look at it. I use false color and the different looks for something things but for the most part i just judge by the meter and the Fstop. As long as Im not in low light 3200 world you should be alright with a light meter and the stop on the lense. Just my 2 cents.
 
Harry Clark said:
I LOVE false color. Works for the way my brain is wired.
I never use the focus assist.
;)
I guess we're all different.
I would like very much the ability to disable the rainbow and the traffic lights. Not useful for me.
In fact, having the histogram (or better yet a waveform) take up the whole bottom of the screen for better detail, and putting the drop frame, media, and battery counter on the side or on top might have been better. The histogram is pretty tiny...
Cheers,
Harry
Click to expand...

We are different indeed. I think the histogram is plenty big and I live by the rainbow and traffic lights. We do agree on false color and focus assist. Ain't it great to have options?

Maybe a histogram overlay for the LCD would be helpful to some. Or, maybe just turn the whole LCD into the histogram display. It might be possible.
 
Sanjin Jukic said:
That's all folks!
....
Why HD-SDI preview with HP LP2480zx DreamColor 30-bit LCD monitor?

Because is the best quality and the most affordable computer LCD that can be "HD-SDI enabled" monitor via HDMI input at 1080p.

Why to use AJA Hi5-3G HD-SDI to HDMI converter with it?

Because it fixes HP LP2480zx DreamColor connection and it can easily convert PsF into true progressive and can deliver a real time RGB signal over HDMI.


...
Click to expand...

Just waiting here for the new HD Link Pro from Blackmagic Design to arrive. It has true 10 bit Display Port output, which will drive our HP DreamColors at full 10 bit native.

Btw, the current HD Link Pro DVI works nice too on these displays. But the new Display Port model seems to be way more appropriate.

Just to add this up.

Axel
 
i would like to know why false color in raw does not hit the maximum exposer the red color
 
RAW false color

RAW false color

I would like to know why false color in raw does not hit the maximum exposer the red color
Click to expand...

It should, so which build are you using ?
 
Stuart English said:
It should, so which build are you using ?
Click to expand...

Stuart, have you read what Art Adams wrote in Provideocoalition,

http://provideocoalition.com/index.php/aadams/story/the_vertical_bar_graph_raw_exposure_meter/

If I understood one of Jim's recent posts correctly --the meters show raw information only when the raw view is on-- Art Adams give misleading information when saying the barber pole always show raw data of the exposure. Furthermore, in this thread Sanjin markets Adams' article as guidance how to use the meters, so there's a need for proper information.
 
RAW false color

RAW false color

Stuart, have you read what Art Adams wrote
Click to expand...

I have, and he's correct.

The "barber" pole as he calls it always shows true sensor RAW data, it's the false color overlay that is VIEW mode dependent.

You can verify this for yourself -

Set ISO+ to one of the USER keys and initially set the camera to ISO 320. Set VIEW = REC709 or REDspace and enable FALSE COLOR. Now, step through the ISO values using the USER KEY and observe how the false color overlay reacts to the increasing ISO but the "barber pole" does not.

That's because the latter is a true sensor RAW meter...

Now change the VIEW = RAW and repeat. This time you will see color overlays do NOT react to ISO. This is because when the monitor path is viewing RAW , the sensor RAW meter AND the false color overlay are metering the same sensor RAW data.


We'll be updating the Operators Guide to clarify this.
 
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