any non mx guys still getting camera rentals?

[Zakaree Sandberg]

its hard enough to convince them to use red one vs 7d..

with scarlet on the table im concerned that even epics let alone red ones will get the work

 

[Mikael Lubtchansky]

Has anyone done a MX vs. RED in daylight? RED's always been noise free in daylight. MX can't have an edge in noise, and if it does I don't care. But I am curious if there's a real dynamic range gain or if that's just in low light. For RED noise in low light Neat Video exists.

Yes, since the sensor has MUCH less noise in the shadows you can underexpose your image in high contrast scenes (daylight...) and "push" it in the lab gaining 1+1/3 stop dynamic / highlight protection if you expose at 800 instead of 320.

 

[Rick Darge]

To me this is the biggest plus of the new chip. I now rate everything at 800 baseline. If I clip a little, I have a lot more room to bring that back whereas with the M, I would shoot at 320-500 and if I clipped, it usually meant that it was lost forever. MX allows you to glide along the ISO scale a lot easier

 

[Cüneyt Kaya]

yes!

 

[Joel Kaye]

Yes, since the sensor has MUCH less noise in the shadows you can underexpose your image in high contrast scenes (daylight...) and "push" it in the lab gaining 1+1/3 stop dynamic / highlight protection if you expose at 800 instead of 320.

Thanks for the info.

Is there any shadow color fidelity loss when you do that? Seems to me noise reduction is one thing and color information is another thing. For instance... underexpose a deep purple and it may become a noise free deep gray (or some other shade), but if you didn't underexpose it then it's a noise free deep purple.

I don't know - but it's something I'd be curious to test. Certainly there must be some point when you're losing color information BUT the image still shows as noise free.

This page overviews the math of shadow information vs. the rest of the tonal range.
http://www.luminous-landscape.com/tutorials/expose-right.shtml

 

[Mark Stock]

About one in three ask about M-X.

 

[A. Clint Litton]

Out of curiosity, has anyone lost any work because of the MX upgrade, mostly due to post workflow issues stemming from Build 30?

A company I've been working with recently has been very wary of Build 30, and still prefer the ease of using Red Alert! to tweak and preview the looks they'll eventually be using for post.

My take is that the MX is a no-brainer from an acquisition standpoint, but it seems the post-end has been slow to keep up...so people with an established workflow (who are well-accustomed to shooting with the M sensor) aren't as smitten with the advantages of MX.

How have you MX'd guys been approaching this kind of conversation about post with clients who have this reservation? I've been using RC-X, but it's still prone to periodic crashes, and doesn't feel quite as straightforward an approach as RA/RR for basic transcoding.

Any insights, recommendations, and opinions are welcomed...

Cheers,
Clint

 

[axel ebermann]

Usually people rent the camera because of my expertise rather than the chip - MX or not...
generally I think it is very tough to make your money back with a full Red Package.
With the Epic coming out Reds will be basically worthless after a relatively short period of 'recouping investment time'.

Once Epic is out will be Epic or DSLR I think.

Surprisingly few customers go into full blown color correction exploiting the full bandwith of the Red Raw files anyway.
Sometimes I secretly pre-color correct with clip finder when processing dailies just so I can feel better about the footage

 

[MichaelHalsell]

............

Surprisingly few customers go into full blown color correction exploiting the full bandwith of the Red Raw files anyway.
Sometimes I secretly pre-color correct with clip finder when processing dailies just so I can feel better about the footage

I thought it was just me.