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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 :)

1st 1,2,3...

Tim Whitcomb said:
ATTN: FUTURE SCARLET OWNERS. ALL DELAYS ARE DIVINE. DO YOURSELVES A FAVOR AND TAKE THIS TIME TO LEARN THE DIFFERENCE BETWEEN RAW IMAGE PROCESS AND RECORDING BAKED IN VIDEO IMAGES.

cheers!
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how?! as reduser reeeeeeeaders?.. just like!?!

¡cheers!
 
If only we could remove the human element from system design, optimization would be so much easier.
 
1) I use Zebra 1, (set to max) just to see where is sensor real clipping
Zebra 2 to 60% to 70% (gap) for faces

2) False Color for tricky lighting, or hard to evaluate by eye

3) For hight contrast scenes, i "lift" the mid part of the curve in camera.

4) For extremely high contrast scenes, 3) + ISO 400

Never blown or underexposed a single shot since i own the camera with this simple method.

Still see the fabrics texture in say a white shirt on a sunny day.

Antoine
 
Graeme Nattress said:
That's because you never see my failures :-)

What I've learned is that software image processing is one thing, but as soon as you tie it into a camera you've got an interactive feedback loop through a human and a display, and that's a whole different problem, and a trickier one too.

Graeme
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Well Graeme, we know that the amount of failures and trial far surpasses al the successes, in most that we do, but at the end what counts are indeed the successes and those successes set us apart. :~)
 
the one approach i tend to use mostly:

1. set user button 1 to raw view.

2. switch back and forth between raw and redspace. (raw for me - redspace for director, producer and client).

3. just before the shot - expose to the right (in raw mode). then switch back to redspace.

(false color i reserve for high contrast and/or low key shots).
 
Jannard said:
The other is to create a new color space (REDcolor) and gamma (REDgamma) that give you a much more consistent view of the full range from A-Z (camera through post).

Jim
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I hope this goes better than my intuition tells me.

Can you explain how you're doing this. But more importantly whether or not we can get back to linear from it easily? I'm all for a more pleasing image. But I just worry that you're going to introduce some REDLOG style colorspace again which no app can natively understand and require an unnecessary amount of reverse engineering on every single artist's part to figure out what the hell this new fangled proprietary format is.

Just tell me that even if it's processed as REDGamma the SDK and REDCine can convert the look as best it can to sRGB, LIN or Log. Something which any app made in the last 10 years can understand without a PhD in RED color.
 
1. Meter only sometimes for pre-lighting (quite sparse use lately), basically by eye.
1. Adjust with monitor.
3. Final touches and iris setting with aid of False Color, occasionally checking Raw image.
Guido
 
"without a PhD in RED color" quote of the year.. 2009 we hope.. we ALL hope ehehehehehe
 
okay Mr Jannard.. hope the message had been decoded the least
 
I just adjust my ISO and exposure by eye accordingly to the lighting conditions. I do a lot of test shoots also to make sure the final piece has the right look for the specific lighting conditions. I guess I try not to get too technical.
 
Hey Tim,

For all of us "Baked-In" folks, anxiously awaiting our first shot at using a RED/Scarlet...

What other landmark posts would you recommend for our education, in addition to "It's all about the Histogram?

Thanks.
 
SC 4.1 @ 250 ISO 1/48th shutter

OR

400 ISO and 1/48th shutter

1. False Color
2. Raw histogram
3. Greyscale
 
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Graeme Nattress said:
...but as soon as you tie it into a camera you've got an interactive feedback loop through a human and a display, and that's a whole different problem, and a trickier one too.

Graeme
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Because of that an optical viewfinder (OVF) is must have for Epic whatever it costs (USD 20.000), rentals will pay for that anyway and the most of the old school a film shooter sort of cinematographers would appreciate it.

ARRI knows that very well and they already strongly announced OVF option for the upcoming new digital camera (Blue!!!) that will compete with Epic heavily.
 
i Have been rating the camera at ISO 320 with very successful results- 2 Seasons on HBO as the first Red Show and I am looking forward to the next version of RED. I use my meter as in film for the past 15 years and focus on making sure there is a range of exposure in the shot - with something at black and something close to white - A cinematographers job.

christopher Gosch
www.redcinematographer.com
 
1.) camera exposes at 320 asa 5600º kelvin. blue channel is most sensitive channel.

2.) judge highlights by i.r.e. standards or with meter. never to let highlights go. i always look at everything in redraw and not in a colorspace, as the raw is the negative and the true image that you are recording. the colorspace is nice for producers but i want to see what the camera sees. if anything i'll bounce into both color spaces to see that the image is doing but i do not expect anything that looks like colorspace as it is only metadata.

3.) i try and push everything in my histogram to the middle creating that dense (thick) negative, not relying on my post process to pull anything unless it's a grab and go situation. i also try and make sure that my blue channel on my histogram is the same density as the r and g channels as it's important to the noise levels.
 
Lightmeter check shadow, check highlight, get average and then lean to what you want, darker or lighter. Exposure is always a compromise but with the nuts range and shadow detail Epic is claiming a lean to the darkside should still bear amazing results and perhaps this will become the "Red" look and feel, detail in the shadows … or just blast away and deal with it in post knowing that the key action was captured instead of a perfectly exposed dud shot:)))) Key to great stuff is actually being there and rolling and often the rest is details.
 
Sanjin Jukic said:
Because of that an optical viewfinder (OVF) is must have for Epic whatever it costs (USD 20.000), rentals will pay for that anyway and the most of the old school a film shooter sort of cinematographers would appreciate it.

ARRI knows that very well and they already strongly announced OVF option for the upcoming new digital camera (Blue!!!) that will compete with Epic heavily.
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No the solution is not to remove the display from the loop!!!! The solution is to make it work. All I said is that it's tricky~!

Graeme
 
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