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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 :)

14+ stops of dr... off a 5d Mark iii... magic lantern... :)

That is cool on a geek level.

I wonder when we will see a big budget Hollywood feature shot on this build? :)

I do like the spirit of what they are doing.

David
 
David Battistella said:
That is cool on a geek level.

I wonder when we will see a big budget Hollywood feature shot on this build? :)

I do like the spirit of what they are doing.

David
Click to expand...


i'm not so sure that "big budget" mindset mixes well with the direction that cinema seems to be headed.
 
They wring every drop of pixels out of the 5DIII rag. Onward it goes.
Interesting explanation of HDR process in the PDF.

Dynamic range improvement for some Canon dSLRs
by alternating ISO during sensor readout
a1ex July 16, 2013

Would you trade half of vertical resolution for 3 stops of extra dynamic range?
If you are tempted to answer “yes”, read on.
Click to expand...

http://acoutts.com/a1ex/dual_iso.pdf
mirrored site
http://linuxdingsda.de/~wintix/dual_iso.pdf

Warning
This code changes low-level sensor parameters. In the technical doc you can see how this method messes with the feedback loop for optical black, for example. Therefore, it's safe to assume it can fry the sensor or do other nasty things. My 5D3 is still alive after roughly one week of playing with this, but that's not a guarantee.
We don't pay for repairs. Use it at your own risk.
 
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16DR.jpg
 
I know ThAT!

That is what red is "supposed" to be; champion of the little guy! And they are, and they have been, totally!

I'm stuck on whether I agree with the hacking. I don't even like seeing hackintosh thread on reduser, because I dread the day anyone hacks a Scarlet or an Epic.

but I understand the rebel spirit of what these guys are doing.

Cinema. Well, it's changing rapidly and rapidly staying the same as it has always been.

David


william howell said:
i'm not so sure that "big budget" mindset mixes well with the direction that cinema seems to be headed.
Click to expand...
 
@David,

When you politely ask Canon to code a feature that will empower their camera and probably help it sell more of them, and even offer your services (high level C or ASM) - and they turn you down, and are not even remotely interested - some people twiddle their thumbs; Others dust off their ARM manuals ... when they should be capturing art & creating content.

With RED, you know the team not standing still, but passionately changing things for the better - allowing your creative side to concentrate on actually using the camera. :)

AJ
 
its great stuff, for low budget stuff, it will be fantastic, I cant believe what these guys are cranking out. but still the aliasing and moire drives me nuts after working with them for so many years, I am SOOO glad I have my RED :D :D
 
David Battistella said:
I dread the day anyone hacks a Scarlet or an Epic.

but I understand the rebel spirit of what these guys are doing.

Cinema. Well, it's changing rapidly and rapidly staying the same as it has always been.
Click to expand...


1. I'll bet that someone already has hacked into a Scarlet... But they probably work at red now... :)

2. Cinema is an artform that is so young, and things just got really interesting... Think about it like painting... At first.. Artists had to know how to make their own paints.... Mixing eggwhites with colorful powders obtained from far off sources.... In order to use this paint, artists had to mix it with set wet concrete... And stick it on a wall... Resulting in what we know as frescos.... These things were so freaking expensive to make, that only big ass churches and REALLY rich people could afford to pay the artists to make them... The artists had teams of people that did each job... Some were master colorists... Some people just mixed concrete all day... It was like a film set... Teamwork resulting in one big ass painting.....

then oil refining happened... And oil paints were born.... One artist could mix his own colors... And apply them directly on a canvas... That he built... And he could deliver the painting to the person that commissioned it.... The team wasn't needed anymore.... as a direct result, the price of art went down.... A few painters still painted big ass paintings... But.... Now more people could paint... Anyone... Not just those who were lucky enough to apprentice with an artist...


The future is now.... Small projects will proliferate... Macs, 200.00 professional editing suites, cheap raw/4k cameras, and direct access to true industry professionals on forums like this have now solidified this.

not to mention Netflix, Apple TV, Vimeo, and YouTube can easily distribute your content to anywhere in the world the second you go upload your project...

large physical distribution networks are not needed anymore... Theaters.... Empty....

Im not saying its a good thing.... I'm not saying its a bad thing... I'm just saying it is a thing.

we are at a paradigm shift in human history....

Books will always exist, but the majority of words that my daughter will read in her lifetime will probably be on a computer display... Or her phone.... That sucks.... But is totally feasible.
 
http://vimeo.com/70459941

Go to vimeo and watch it full screen or download to see the difference.

General Observations
This test was designed to be a worst case scenario. Bright light in a dim room room including
fabric textures to help reveal moire. The reduction of shadow noise is dramatic to say the least.
Without Dual ISO the footage would have been unusable. But it does come at the cost of
increased moire/aliasing, something which Alex from Magic Lantern clearly indicates in his
technical documents describing the new feature. Clearly, many scenes won't exhibit the level
of moire/aliasing shown in this test, so one just has to be mindful of the content of your scene
and weigh that against the need to retain both highlight and shadow information when the dynamic range
of the scene if greater than 12 stops. But when you are unable to properly light a scene to even out
the exposure, the Dual ISO feature allows you to bring up the shadows in post significantly with very
little increase in noise. Regarding any minor resolution decreases that are supposed to accompany this
feature, I think that is a moot point... the footage wouldn't even be usable in my test scenario without
the Dual ISO feature (short of lighting the scene properly). I'm sure in many typical usage scenarios,
the benefits will far outweigh any disadvantages.

 
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The moire and aliasing is simply to present on this to make it really viable for me.
In any case, my experience with raw on the 5D Mark III is that there is more like 12 stops, not 11 and I often have a heck of a lot of headroom to push the image in either direction (at least +-2 stops, often more). Frankly, fits all of my needs as a b-cam to an Epic or an F3. Image coming from the 5D is easily as sharp as the other two now.
 
Clayton Burkhart said:
The moire and aliasing is simply to present on this to make it really viable for me.
In any case, my experience with raw on the 5D Mark III is that there is more like 12 stops, not 11 and I often have a heck of a lot of headroom to push the image in either direction (at least +-2 stops, often more). Frankly, fits all of my needs as a b-cam to an Epic or an F3. Image coming from the 5D is easily as sharp as the other two now.
Click to expand...


we've been waiting to install a "stable" release.... what's your experience like with the build you've installed?... which build is it?

unless that was meant to be humorous... in which case... nevermind... i'm slow.
 
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Dual ISO is early days yet.

Dual ISO is early days yet.

Dual ISO Interpolation is the big issue at the moment and that's going to take a bit of time to work out.
 
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