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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 :)

400 fps with candles with Epic

Thanks Brandon and Daniel, the camera is just totally amazing ... to me it's a type of preview of what people will get with the Dragon. All sorts of things that we just never tried before will be possible.

It's not so obvious with this shot, but the dynamic range of the camera is amazing too ... my main problem is trying to fit the dynamic range to current monitors and compression codex's. I'm really looking forward to the ".RED" file format and the red-ray projector.
 
Nicely done Patrick!

At times seems beyond reasonable what the Epic Monochrome can do, wish I could show all the tests done with the Monochrome for some huge Corporate here in Italy, but I absolutely can't, they would have blown your mind!!

Fact is that the Monochrome indeed gives a clear window of the insane potential of the Dragon sensor, and even so right now I ma selling my Mono, (at 15k is more giving it away actually).

But you can bet that I will buy and other one (or two) once the Studios get up and running, as it is just too crazy sharp, clean and powerful low light camera and I love it!
 
To think that Dragon Mono will be even more sensitive... Mindboggling.
 
Vadim Bobkovsky said:
To think that Dragon Mono will be even more sensitive... Mindboggling.
Click to expand...

Ya, that's at a 1/400th of a second shutter speed.

KETCH ROSSi said:
Nicely done Patrick!
At times seems beyond reasonable what the Epic Monochrome can do, wish I could show all the tests done with the Monochrome for some huge Corporate here in Italy, but I absolutely can't, they would have blown your mind!!
Fact is that the Monochrome indeed gives a clear window of the insane potential of the Dragon sensor, and even so right now I ma selling my Mono, (at 15k is more giving it away actually).
But you can bet that I will buy and other one (or two) once the Studios get up and running, as it is just too crazy sharp, clean and powerful low light camera and I love it!
Click to expand...

I think I have the only feature that is allowing shots out, all the others are in secret mode (they are probably doing something insanely cool). I think the word needs to get out on the monochrome for people to understand why/when they need to rent/buy one. I did notice in this months American Cinematographer a great article on the monochrome, hopefully will help you out on selling yours(monochrome is my favorite camera I have ever used and shot with, and i have used the most expensive gear ever, must slay you a bit to sell it ... best of luck Ketch).
 
That looks truly beautiful.

I did something similar with a match the other day.
Not monochrome though and with some music. It was just a little test to check out the 400fps capabilities.

The clip I did was "Light the match, leave it for a second or two, blow it out"

It resulted in a 7 1/2 minute clip :smiley:

Have a look at it here. Match at 400fps

Be sure to go to 2.30 minutes and have a look at what the smoke is doing.


Man I love this camera


Peter
 
Peter Arnold said:
The clip I did was "Light the match, leave it for a second or two, blow it out"
It resulted in a 7 1/2 minute clip :smiley:
Have a look at it here. Match at 400fps
Be sure to go to 2.30 minutes and have a look at what the smoke is doing.
Click to expand...
Awesome, I'm also doing a bunch of animation studies comparing liquid with fire from a flow viewpoint. (using http://www.amazon.ca/Elemental-Magic-Volume-Technique-Animation/dp/0240814797 and a practicals class I'm taking on fxphd.com). As you blow out the candle at 2:18 to 3:40, really effectively shows the liquid nature of fire.
 
Jason Comparetto said:
Beautiful. Thanks for posting.
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Thanks Jason, so much beautiful equipment to play with !

zak forrest said:
so the monochrome is noiseless at iso 2000, correct? as if you were shooting iso 800 with MX ?
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How I think of it, is removing of the rgb color filter moves it from 800 to 2000 iso. On top of that, what I'm able to do is "average" what was the red with the green with the blue sensor, to give me a averaged b/w "pixel" - this I think gives me another 1500 iso. So if i'm shooting at 5k for a 4k di, I have the noise level of a 3500 iso on the monochrome compared to a 800 of a mx. This is a bit more obvious when shooting at 1kws, in the shot that Peter did above with a color sensor ... it's a great shot but the noise level is really high if your shooting for a 1080/2k final. With the monochrome, shooting at 1k ws mode gives a "passable" 1080p/wk final as far as noise is concerned.

Another thing I do, which is a bit of noise cheating, is I barely illuminate the room with a dimmer when I do something like shooting candles, then i drop the least 2 significant bits in post ... which really almost wipes out all the noise.
 
Patrick awesome demo.
what was the format you shot this at? Sorry I'm not familiar with the formats vs frame rates with the mono.
i think the shot actually has a very wide dynamic range considering full candle and falls off to black shadows.
thanks again for the peek.
 
Russ Fill said:
Patrick awesome demo.
what was the format you shot this at? Sorry I'm not familiar with the formats vs frame rates with the mono.
i think the shot actually has a very wide dynamic range considering full candle and falls off to black shadows.
thanks again for the peek.
Click to expand...
Hey Russ. the exact configuration was: 1/400th of a second, 400 fps, 1kws (1280x480), 1.8T RPP 35mm, redcode 7:1. In post all i did is output it in openexr 16 bit (from redcode linear), drop that into a 1080p project(AE does a quadratic to scale behind the scenes i think), then in AE did a gamma at .5 (after making the curve to drop the first two bits). In redcinex many of the options are greyed out for monochrome r3d(so i don't do anything crazy in redcine aside from only selecting linear).

On your dynamics range question, it did cross the entire 16 bits, in monochrome it's really up to the shooter to do the color science ... and playing around with the bits is just crazy cool (i.e. I often triple light a scene for bits ... i do the two lower bits of light for noise, then bits 3-8 for to get all the room using a ambient lighting approach, then the bits 9-16 for what i'm actually interested in). RED's Linear makes this simple, in that all you have to do is look at the histogram and rough out where the bit boundaries are when lighting. I think people are going to freak out with the dragon, since I think this approach will be able to work with that sensor. For production I then move the bits around with linear adds and multiplies in nuke(i.e. not for this shot, but how i normally do things).
 
Dmitry Burenok said:
We want boost mode with 600FPS! 3 seconds please!
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Hehe, Ya ... really I notice the huge emotional slow down at around 350 fps ... so with the dragon if i could get 2k ws at 400 fps it would be very usable for me.

Here is btw another practical study for vfx (using these b rolls to help me get my water vfx right). This one is a outside shot of a stream, 400 fps, no lighting tricks and used redgamma3. [i btw had to reupload this video ... messed up my first time]

 
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