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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 :)

Build 30... the Crossover build.

There are no advantages of rating the sensor below baseline when shooting.
There can be a number of advantages - depending on the situation, to rate it higher - when shooting - including, but not exclusively: Just seeing what happens... -:)

Likewise: there are rarely any advantage of rating the sensor above baseline in post.
there can be a number of advantages by rating it lower.
Actually even on the same shots one rated higher when shooting...
 
Jannard said:
Absolutely none...

Rate either sensor from 250 to whatever noise you can handle.

Jim
Click to expand...

Then why have it? Just for standards sake? Just trying to figure out why I would ever need to rate that low. I worked with a DP last summer that did a bunch of camera tests and concluded that ISO 100 would be best to shoot the film on. I convinced him to go to at least 250, which he did.
 
IOkay so I've just about wrapped my head around all this stuff about exposure DR and ISO and native sensitivity, thanks for the helpful explanations Jim. I'm somewhat new to working with the Red One (just shot my first Short with it a few weeks back as 2nd AC, now trying to learn in detail about the post pipeline etc.) so I'm just getting into the game as it's in the middle of changing again, big time, with the MX and new color science.

The way I understand it is that in effect the RAW sensor data has been the same always, (better quality sensor data from better MX chips now though of course) the new color science and camera monitoring and controls are just new ways of processing it and ways of representing it/ terminology for working with it that help the user better understand what they are doing and so get more consistent results.

What I haven't quite grasped is how you can pull smooth color gradients out of this Raw sensor data especially when you ramp up to the higher end, without getting banding and other problems. Surely the Red Raw format must be dealing with quantized data from the sensor at a certain color bit depth (12bit I'm led to believe)? Shouldn't this mean that you are working with a smaller range of those bits, spread thin as the gamma curve stretches the top end out across more of your final processed output? Or is wavelet compression so different that it doesn't suffer from these kinds of problems that I'm used to from working with traditional image formats perhaps because the quantization takes place after wavelet transforms (not that I have a clue what they are exactly) ?

Please feel free to refer me to some existing post or article - I have searched but there is too much to wade through to get to a clear answer and wikipedias information on wavelet transforms and coefficients just went straight over my head.

What I'm trying to get to is that I would have thought that aside from noise floor and clipping the bit depth should also impose some kind of limit on how much use you can make of the extremes of the sensor. I am thinking correctly here?

Also, wouldn't it be helpful if the ISO setting set the quantization to favour a specific range - setting a quantization curve if you will.

Hopefully this isn't vying too off topic and will lead to something helpful for people trying to understand the new build and with it the inner workings of the camera and their raw data.
 
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I see in the manual "EXPOSURE displays a 2-color overlay that allows you to check minimum and maximum exposure levels
of the RAW sensor data...."

But if i change the contrast or any of the other metadata info it affects the metering, if it was showing raw only why would this effect it.

Thanks
 
KLang said:
I see in the manual "EXPOSURE displays a 2-color overlay that allows you to check minimum and maximum exposure levels
of the RAW sensor data...."

But if i change the contrast or any of the other metadata info it affects the metering, if it was showing raw only why would this effect it.

Thanks
Click to expand...

Checking...

Jim
 
Wow...a lot of improves.
I feel that I need to re-learn every RED thing
Seems that my vacations took to long.

Congrats RED Team and Thanks Mark
 
Raw view user key reboot bug

Raw view user key reboot bug

a smaller bug :

if you have assigned a USER KEY to RAW VIEW...

When you power down the camera while in RAW view, upon restart the user button won't switch you back to REDCOLOR and you're stuck in raw view until you go back to the video/view menu and switch it manually once back to REDCOLOR. Then it works again...

(When you shut down while viewing RedColor everything is OK.)
 
Mikael Lubtchansky said:
a smaller bug :

if you have assigned a USER KEY to RAW VIEW...

When you power down the camera while in RAW view, upon restart the user button won't switch you back to REDCOLOR and you're stuck in raw view until you go back to the video/view menu and switch it manually once back to REDCOLOR. Then it works again...

(When you shut down while viewing RedColor everything is OK.)
Click to expand...

yep, same for me
 
User key - RAW VIEW

User key - RAW VIEW

Thanks, it's already fixed on our internal test build, so that fix will be in the next Beta release.
 
minor display/playback bug :

if you use the meter tools for focus overlay/assist and need to play back a clip, the focus zone area selection box appears over playback image and cannot be removed or 'applied' with the joystick (now used to navigate between clips). The only way to get rid of the redbox it is to switch the meter off if you have a USER KEY assigned to it.
 
Sorry, Dumb question here:

Is the build 30 that ships with an upgraded Red One capable of monitoring in RedColor or do I have to upgrade the camera to the beta crossover build in order to get that working correctly?

Reason I'm asking is we have a relatively high profile indie feature shooting starting monday and I want to make sure everyone on the shoot is on the same page and we don't get some wacky stuff happening on a real shoot.

I think we're gonna go with 800 ISO all the time unless we need to push it a little bit. Unless anyone can convince me a truly good reason we shouldn't.

Gonna probably stack an N1.2 with a pola for wide exteriors, and maybe drop the pola for closeups...

Any comments on that methodology? Shoot is using Cooke S4s.:leaving:
 
Dan Kanes said:
Sorry, Dumb question here:
Is the build 30 that ships with an upgraded Red One capable of monitoring in RedColor or do I have to upgrade the camera to the beta crossover build in order to get that working correctly?
Click to expand...

Yes, Build 30 'View' options on Camera are RAW & RedColor same as Build 30.3.1

As far as I'm aware Build 30 is just as Beta as Build 30.3.1 so just choose your poison. In terms of MX probably best to go with the latest Build as bug fixes and development will be based around the latest Build. Means if you do have a problem it is likely you will get it solved faster being on Build 30.3.1. Total assumption on my part but as Build 30 was never a release Build that would be my logic...

If going ISO800 I think you're going to need more than a ND1.2 and check that you have a 3 stage & round matte box in the kit. I think ND1.8 will be a standard for MX Cameras.
 
So, our best bet with an MX Red One is to upgrade to build 30.31 if it shipped to the rental house with build 30.00?

Thanks for the heads up, I'm just trying to keep things running smoothely for everyone involved on this shoot.
 
Firmware

Firmware

If the camera shipped to the rental house a couple of weeks or so ago, it would have shipped with Build 30 V30.3.0.

Since then we have released Build 30 v30.3.1. Both versions are "Beta" releases, but both are solid and reliable.

I would upgrade to 30.3.1 if you have the chance, just because it is the later version.
 
Frame lines

Frame lines

Apparently a bug in the custom framelines; it won't save a setting. Saw this on a rental MX body today at the rental house.
Click to expand...

Thanks, we'll check that out.
 
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