Jay A. Kelley
member
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- Feb 2, 2007
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- Location
- St. Louis MO
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- www.dreamwelder.com
Daren, Greg, David, RED Team, etc.
Check me on this and see if I have it:
I have been trying to wrap my head around RED's sensor. I have been spending a lot of time trying to learn the best way to feed it, and what it likes best. Here's the bottom line:
RED's sensor provides the best s/n ratio in the RED channel (Ironic) and the WORST s/n in the blue channel.
So that said, shooting daylight balance light sources will feed the sensor a lot of blue light which it is hungry for, and balance against the sensors weak points.
Shooting tungstun however, means you will feed the sensor a lot of red light, and it will starve for blue. When you go to post, any type of low light situation will result in blue noise before anything else, since you did not balance things out well when you were shooting.
I shot some green screen a while ago and had the good fortune to the same actors, in the same outfits using both tungstun, and KINO daylight each time. This is what brought it home for me.
I look at the RAW video output from the camera, no WB, no curves, nothing. The tungstun set was pretty orange, while the daylight set was far more balanced. Furthermore, color work in post was 1000x easier with the daylight set as blues and skintones were more balanced.
Ok, nothing new here I know.
But, when shooting outside, is there TOO MUCH blue light? I have hear tell people are using an 85A filter. This filter cut's down on the amout of blue light getting to the sensor correct? So are we saying that outside we've gone too far in the other direction?
Shooting Tunsten, we're in a position where the blue is much lower and so to counter that you can use a daylight source, or gel your tungstun to get more blue into the picture. I read somewhere that in regards to the blue channel, the RED falls below 320ASA by a bit.
Is a possible solution inside to use a filter that cuts down the amount of RED light and to try to balance it that way? I know we'll lose our 320ASA but my focus right now is more one of color balance.
Personally, I am not wild about using a color filter indoors, I would PREFER to just work the light sources. But what about shooting on a city street, were I do not have that control. And there are a lot of tungstun porch lamps around.. Is a filter good then?
I dunno, I can't seem to get comfortable using any kind of color correction filter in a low light situation. Outside, if the 85A balances things a bit, I can get behind that one, but inside, hmmmm.
One thing I can see, if using an 85A IS a good idea, then all you people with two stage matteboxes better get an upgrade (Like me.. Ouch).
Outside:
85A
Pola
Basic ND
ND Grad
Crap, I'm one tray short.
Of course now with all those filters, then we come back to this IR issue everyone's talking about..
But that's another thread..
I'm just saying
Jay
Check me on this and see if I have it:
I have been trying to wrap my head around RED's sensor. I have been spending a lot of time trying to learn the best way to feed it, and what it likes best. Here's the bottom line:
RED's sensor provides the best s/n ratio in the RED channel (Ironic) and the WORST s/n in the blue channel.
So that said, shooting daylight balance light sources will feed the sensor a lot of blue light which it is hungry for, and balance against the sensors weak points.
Shooting tungstun however, means you will feed the sensor a lot of red light, and it will starve for blue. When you go to post, any type of low light situation will result in blue noise before anything else, since you did not balance things out well when you were shooting.
I shot some green screen a while ago and had the good fortune to the same actors, in the same outfits using both tungstun, and KINO daylight each time. This is what brought it home for me.
I look at the RAW video output from the camera, no WB, no curves, nothing. The tungstun set was pretty orange, while the daylight set was far more balanced. Furthermore, color work in post was 1000x easier with the daylight set as blues and skintones were more balanced.
Ok, nothing new here I know.
But, when shooting outside, is there TOO MUCH blue light? I have hear tell people are using an 85A filter. This filter cut's down on the amout of blue light getting to the sensor correct? So are we saying that outside we've gone too far in the other direction?
Shooting Tunsten, we're in a position where the blue is much lower and so to counter that you can use a daylight source, or gel your tungstun to get more blue into the picture. I read somewhere that in regards to the blue channel, the RED falls below 320ASA by a bit.
Is a possible solution inside to use a filter that cuts down the amount of RED light and to try to balance it that way? I know we'll lose our 320ASA but my focus right now is more one of color balance.
Personally, I am not wild about using a color filter indoors, I would PREFER to just work the light sources. But what about shooting on a city street, were I do not have that control. And there are a lot of tungstun porch lamps around.. Is a filter good then?
I dunno, I can't seem to get comfortable using any kind of color correction filter in a low light situation. Outside, if the 85A balances things a bit, I can get behind that one, but inside, hmmmm.
One thing I can see, if using an 85A IS a good idea, then all you people with two stage matteboxes better get an upgrade (Like me.. Ouch).
Outside:
85A
Pola
Basic ND
ND Grad
Crap, I'm one tray short.
Of course now with all those filters, then we come back to this IR issue everyone's talking about..
But that's another thread..
I'm just saying
Jay
