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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 :)

Black sun

There is no switch to disable it. Can you elaborate on why you would want to?
 
Hi Deanan,

I think it may not be a question of wanting to disable the sensor protection, but rather have the affected areas default to pure white or something a little more natural looking than black.
 
You nailed it, Seth.

It's a bummer to have to explain to the DP, director and producer that what they're seeing will have to be fixed in post... no matter what. Yes, it's easy... yes, it's vastly improved... but it'd still be great if it was white instead of black/purple.
 
Brook Willard said:
You nailed it, Seth.

It's a bummer to have to explain to the DP, director and producer that what they're seeing will have to be fixed in post...
Click to expand...

Hey Brook, can you explain how exactly this can be fixed in post?
 
So let me get this straight. As of Build 12 RED hasn't fixed what seems to me a common-sense issue of making sure an overbright area clips to white and not black? Something EVERY other camera does?

Please fix this before you worry about the use of Comic Sans or any other cosmetic/"psychological" improvements to the camera. The image is king.
 
I cant remember when and which post i read it. But i thought this is fix, something we shouldn't worried about anymore ? No ?
 
Tracking, frame-by-frame, spline and roto - regardless - for the camera to digitally "paint" overbright pixels black as opposed to say white (just on/under the clip line would be ideal) means you have to explain to people on the set that this camera is going to cost them time and money in post which producers NEVER, EVER want to hear.

Digital is a new medium to many of them and, despite the cost savings that it provides, many people are looking for the catch. Often, Sceptical producers like nothing more than to be able to say that they have "the knowledge" or "the tech" and this black dot thing is ideal "water cooler" fodder to create false hysteria.

In short - Please, please get rid of it, adapt to white or have an off switch.
 
Offhollywood said:
THAT would be great - PURE WHITE!
Click to expand...

jtm & Mark,

I'm curious as to why you want that area to be over exposed and represented as white?

Defaulting to white would place that area of the picture beyond the reach in digital post production...My rule of thumb for shooting RAW is to always under expose a little knowing I can bring a dark object up ,but it's very difficult to bring an overexposed area back to a normal level.
 
As i mentioned in my post I would place it right on the clip line or just under it. However if you're shooting against the sun it's very unlikely that you're going to be able to pull the exposure down sufficently to avoid it burning out and still get anything useful ot of the rest of the shot. Even on film it will generally exceed the contrast range and burn out at the centre.

either way, it's still better than black.
 
Stephen Williams said:
Painting frame by frame, lots of fun!
Click to expand...

The information from the sensor protection is actually useful and can be fixed without tremendous labor.

Pure white seems nice but you may be forgetting that it likely will not taper well. The current output seems fairly easy to isolate with selective color replacement, that can be feathered to taste.

My 2 cents.

IBloom
 
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