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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 :)

Any New OLPFs at NAB2015?

M

Mike P.

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Were there any new OLPFs announced at NAB? Was the H20 shown off?

In all the camera announcement rigamarole, I'm not sure if I missed it (and prior to the Weapon hints, I was hopeful that there'd be some).
 
I wonder if Red is working on a version II of the STH? Since it's easier to switch OLPFs now, it should be easy to just continue improving the OLPF at the same time as improving the color science internally. :thumbsup:
 
Cool, thanks Clark.

Drat! I was kind of hoping for more look-associated OLFPs. (e.g. Kodak OLPF, Fuji OLPF, LowCon, etc.) Also price got jacked up on the specialty ones, huh? I guess they'd be shipping lower numbers.
 
+1000 on Kodak & Fuji & lowcon & STH v2 OLPFS!!

: )

Craig Lees
ED UK
3dstories.co.uk
 
IR PASS OLPF (COLOR) sounds interesting, but does someone have a picture that illustrates the effect?
 
Mike P. said:
Cool, thanks Clark.

Drat! I was kind of hoping for more look-associated OLFPs. (e.g. Kodak OLPF, Fuji OLPF, LowCon, etc.) Also price got jacked up on the specialty ones, huh? I guess they'd be shipping lower numbers.
Click to expand...

Yep. The "specialty" OLPFs are exactly that in many ways. Particularly for our Bubble Blowing friends the H2O OLPF represents something really, really exciting.

While LowCon is happening in the 3rd party fashion from KipperTie, I don't think it's something RED will ever officially release for a few reasons. But who knows. Anything is possible.

As for asking for a Kodak or Fuji OLPF, that is silly. Really, really silly. Get yourself a quality 3D LUT or make a custom look in REDCINE-X PRO to emulate as best as possible the tonal curve and color transform.
 
Ces Peynetti said:
I would LOVE to see some examples of this OLPF.
Click to expand...

I actually had it in the shop for a few days, ordered it fist day of NAB. Got it a few days later. Was really happy about having it but had no camera to test it on... Then I got a mail from RED Europe that I had to send it back... Apparently they where short in supply and some mistake was made so while everyone was at NAB somebody sent it off to me even though I was not first in line for it, so they promptly needed it back.

But I already had opened it an checked it out, as it looks its a bit of glass that is so clear it's even hard to see the glass when you hold the olpf in front of you, which I find rather interesting, I really would have loved to test it at night to see what happens.

But I guess I have to wait to do so. Lol.
 
If i remember correctly a "man-in-the-middle"-OLPF is in development. It will be sitting between the LL and STH, i guess thats something we could consider being the STH2.

LOL, Björn, thats a funny story.
 
It would be good to see some examples of these new OLPFs.
Not just stills with them in use but with and without examples either stills or motion would be very helpful to decide on purchasing them to play with.

Id love to see what the results are when using the IR Spectrum Zero Lowpass filter when not shooting with a fully desaturated setting.

Also is RED's DSMC IR PASS OLPF (COLOR) the same as KipperTie's IR Spectrum Zero Lowpass filter?
 
I dunno Phil; that's like saying filters are silly because you can do most (if not all) types of filtration in post. I'd be willing to bet that a lot of cinematographers would prefer to have an inherent look as close to their vision as possible coming out of the camera, making it less changeable down the post-pipeline (you read about the Dying of the Light fiasco?)... Even more so for Weapon, with it's built-in prores -- if it ends up shooting 4k prores, there will definitely be productions that use that as their acquisition format (and not 4444 or 4444XQ, but 422).

And, again, if they were only $195, people would buy... Conversely, $595 is a little rich for something that's subjective/artistic choice (unless the shooter absolutely needs them -- like bubble blowers see clear IQ advantages with the H20, for example).

In other words, you have swappable OLPF capability with Dragon; why not take full advantage of it, rather than just have half a dozen experimental (at best) options.
 
Phil Moreton said:
Also is RED's DSMC IR PASS OLPF (COLOR) the same as KipperTie's IR Spectrum Zero Lowpass filter?
Click to expand...

Not quite the same - the RED version has the standard lowpass filter in place to remove any chance of spatial aliasing. I would expect comparable colour related performance though.
 
John Marchant said:
Not quite the same - the RED version has the standard lowpass filter in place to remove any chance of spatial aliasing. I would expect comparable colour related performance though.
Click to expand...

Can't wait to see some examples.
 
I use FilmConvert plugin for Kodak & Fuji looks but HATE the added MASSIVE render times. Would be great to achieve this look in the original signal chain. It's possible to export 3DLUT from filmconvert but I don't really want to spend £6.5K on a REDcast or more for a weapon upgrade as a solution to make this happen. A £200 OLPF however: win!

I actually think Kodak & Fuji would sell a fair few of these. Call them FilmStock OLPF's?!?

I have no idea how much work goes into perfecting these coatings and how much info RED would ever offer a third party such as Kodak re: their Dragon CFA but I know I have a lot of transparency Kodak & Fuji 120 roll film in my fridge that my wife would love to see me be replaced with some nice vino or something else more tangible for her "uninterested in camera palette" ; )

Hell, even various Kodak & fuji stocks Dragon .RMDs would do!

I'll stop dreaming now.

Sigh.

: )

Craig Lees
ED UK
3dstories.co.uk
 
I'm surprised no one has started a thread or created a sub-forum for individual RED Looks.
Would be great to start building a library of RED looks for our cameras.
 
Mike P. said:
Or links to LUTs even, finally tuned for RLF/RC4/DC2/MX/Dragon...
Click to expand...

There are lots of LUTs about, easily used on all the new monitors or RED Weapon but for Epic & Scarlet I'd love some interesting Red Looks.
I have a lot of clients that STILL don't ever go back to the RED RAW footage to grade. So on those jobs I like to give them an image that is pretty much burnt for them for the final picture lock and export.
 
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