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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 :)

Build 30... the Crossover build.

Jannard said:
Not necessary to adjust gain either. We are moving all of these into a "Pro menu". We need these controls for other reasons and they shouldn't be used. We had a discussion (battle) here about whether or not they should even be in the menus. The compromise is to move them where they are very hard to access in the next build.

REDcolor. Set ISO. Set exposure. Shoot.

If you want a viewing LUT, we'll show you how to do that soon.

Jim
Click to expand...

Smartest thing since... eh.... RED ONE!
... and the killing of RedSpace!

G
 
we tested the B30,it looks amazing,total changed. Beautiful color, rich details. Amazing!
 
I have just been playing with the new build. This is an extremely cool build. Just one instance - Multi is simply terrific. Well done Red.
 
Yes. thank you Deanan. I was worried that windows was going to really lag behind again.

I am so up for this.

Keith
 
Great.

Camera build is in the age of 30's and performs as an experienced, clever, smart adult.

Now starting (or default) sensitivity is ISO/ASA 800 and then from there you can go (-) or (+) as you would need (also with M sensor).

A cinematographer has to deal with many parameters (it starts with a lens choice, aperture dial of f-stop choice, filters, lighting knowledge, lighting experience...)

and it's really matter of your own skills and methodology how you can work with all that in a daylight, studio (controlled light environment),

low or available light situations (uncontrolled light environment).

One possible on-set image control that can be described as a WYSIWYG

and should be almost 100% accurate if you would use the following software/hardware combo:

THE WORKFLOW COMBO>>>

REDCine-X+REDRocket+Wave+FCP, Shake, Autodesk, Avid, After Effects or Nuke/OFX

with GenArts-FilmEffects+Calibrated 10bit Wide Gamut Professional LCD Display (24") for preview on-set:

Load your R3D in REDCine-X set WB and with Wave panel play with FLUT™, Shadows, Contrast, Saturation, etc,... get the image to desired look...

...then output as DPX or TIFF files for 100% 10bit RGB accuracy or ProRes 4444 10bit for broadcast quality

(on both versions make duals with REDColor/REDGamma and CameraRGB/REDLog {or later use upcoming REDFilm} all at full deBayer quality).

Load that examples to FCP, Shake, Autodesk, Avid, After Effects or Nuke/OFX that have already installed

GenArts FilmEffects plug-in and process it with a film stock look (LUT) of your choice.

GenArts FilmEffects:

"Provides a physically accurate model of film exposure and processing to make your video footage look like it was shot on film.
It can remove field artifacts, perform color correction for specific film types, add film grain, and apply glow or soft focus effects.
The color correction and grain can be selectively disabled using the Scale CC and Grain Amp parameters.

Inputs:

Source: The clip to be processed.


Parameters:

negFilm: Popup menu, Default: Kodak_5245.
Selects the negative film stock.

None: Ignore any effect of negative film. This is not normally useful unless you also select None for the print film to disable both.

Kodak_5245: Eastman EXR 50D, low speed, daylight balanced, very fine grain.
Kodak_5246: Kodak VISION 250D, higher contrast, medium speed, daylight balanced, fine grain.
Kodak_5248: Eastman EXR 100T, medium speed, tungsten light balanced, very fine grain.
Kodak_5274: Kodak VISION 200T, medium speed, tungsten light balanced, fine grain.
Kodak_5277: Kodak VISION 320T, lower contrast, medium speed, tungsten light balanced, medium-fine grain.
Kodak_5279: Kodak VISION 500T, high speed, tungsten light balanced, somewhat grainy.
Kodak_5284: Kodak VISION Expression 500T, lower contrast, high speed, tungsten light balanced, medium grain.
Kodak_5289: Kodak VISION 800T, very fast, tungsten light balanced, grainy.
Kodak_5293: Eastman EXR 200T, reduced contrast, tungsten light balanced, medium grain.
Kodak_5298: Eastman EXR 500T, high speed, tungsten light balanced, grainy.
K_SFX200T: Special effects film, medium grain.

printFilm: Popup menu, Default: Kodak_2383.
Selects the print film stock.

None: Ignore any effect of the print film. This causes the negative to be output directly.
If the negative film is also set to None, the color correction and grain are disabled.

Kodak_2383: Kodak VISION Color Print Film, rich blacks.
Kodak_2393: Kodak VISION Premier Color Print Film, rich blacks, some grain.
Kodak_2395: Kodak VISION Color Teleprint Film, low contrast.
Kodak_5386: Eastman EXR Color Print Film (discontinued by Kodak, replaced by 2383). "

More at GenArts link>>>download FLASH flv file>>>

Then open this Flash flv file in MPEG Streamclip and convert to any Quicktime mov file.



The result of this on-set WHYSIWYG workflow can easy match and guarantee the image accuracy across your post workflow later.

Using this WORKFLOW combo you would be able to sent DPX and TIFF reference files to colorist or post facility immediately after the shooting.

It shows what you are doing and what you can get later in post.

Also it makes you safe, fine and ready to shoot.

One more thing you shouldn't forget:

Always put 18% grey card in front of your lens, focus on it (use 1:1 magnification), set Auto WB on camera,

record it in a way that each shot starts with exactly this WB on-set reference.

This can help a lot to get accurate WB later at all steps of image processing in post production facility.

Continued here>>>
 
Looks like you guys have done some really deep signal-chain and "when to do what" thinking.

Soooo happy for this!

Looking foreward to the new (and hopefully "real") LUT implementation.
 
Stuart English said:
Yes that's a clean feed output mode - i.e. it forces all the graphic overlays, including Look Around, off.

Note that the area of this HMDI / HD-SDI output will still be bigger than the actual recorded area.
Click to expand...

Stuart,

Will this also solve the problem we had viewing Anamorphic footage on an external monitor while the EVF/RED monitors are plugged in?
 
> the RAW metering tools reflect the native 320 ISO.


No, the RAW reflects what is happening at the chip, it doesn't matter what you set anything to what you see is what is happening at the chip.

This is what I've wanted all along, it's a shame that people still don't understand that ISO etc can only modify this data and not exceed the parameters in any way.
 
Build 30 looks like a new camera, even with a Mysterium sensor

Really happy to see REC709 and REDSPACE now gone for good and replaced by REDCOLOR only

Makes for a much streamlined RAW/RGB paradigm.
Now when set to 320 ISO, REDCOLOR reflects pretty much exactly the RAW exposure level which is great and wasn't the case before.

The 'always RAW' indicators are very precious. Good job on the new larger clip/noise bars around the histogram. I liked them in their early stage on previous builds (when using the RAW histogram). Corresponding Exposure False color mode in a GREAT tool too along with the multi user button.

The whole ISO setting is now acting differently, like in RED CINE X where it changes the gamma/exposure without clipping non clipped RAW data. It is indeed much more an exposure index tool and knowing how far one can push things in post turns it into a setting I'm much more likely to adjust than previous ISO setting. very interesting

among other smaller things I noticed from playing a bit with the 'new' camera :
- no more 'obscure' MAX setting when setting project
- TALLY option to disable RED EVF tally

Only small bug found so far is the camera defaults to ISO 800 after update even on non MX RED one...

Thanks much for the amazing update.
 
Jarred Land said:
I suggest everyone go through and read the manual for Build 30.. a few things have changed going forward that you guys should be aware of and test for yourselves.
Click to expand...

Can't seem to open the manual for build 30, Acrobat says bad encrypt dictionary. Working for everybody else???
 
geoffboyle said:
> the RAW metering tools reflect the native 320 ISO.


No, the RAW reflects what is happening at the chip, it doesn't matter what you set anything to what you see is what is happening at the chip.

This is what I've wanted all along, it's a shame that people still don't understand that ISO etc can only modify this data and not exceed the parameters in any way.
Click to expand...

Quote of the RED era, and why we should all rejoice!
 
I install the new firmwire 30.
I perform the blackshadding.

but something is wrong with the new "False color" V mode and E mode. both doe not show the purple color only the dark blue. can you help me with this inssue.. all my best
 
Mikael Lubtchansky said:
Really happy to see REC709 and REDSPACE now gone for good and replaced by REDCOLOR only

Makes for a much streamlined RAW/RGB paradigm.
Now when set to 320 ISO, REDCOLOR reflects pretty much exactly the RAW exposure level which is great and wasn't the case before.
Click to expand...

Yes, these are also my findings.

I may add that setting metadata to 500 ASA and RedColor gives good results (noise) and safe headroom on typical mid-to high key environments. Also it feels that the "native" ISO improved a bit.

While I "rated" the camera with a lightmeter typically around 200 ASA, 320 ASA now seems to be more appropriate.

The newest Colour-Science with RedColor and RedGamma is a visible step up towards natural and pleasing skin tones.

Build 30 and RedCine-X are a well working harnessed team. Great achievement!

Hans
 
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