DSMC is not going to happen...

[Steve Johnson]

I believe he means this one.

http://vimeo.com/9031359

Its Dope!
Humbling and Inspiring!

Thanks Eston.

Yeah thats a great doc on Che and the making of. I have watched that doc loads of times and get very inspired to go write after that. i think the belief that Stephen has in the entire RED team is amazing.

 

[Justin O'Neill]

One of the difficulties in shooting for both motion and stills used to be motion blur if you shot the motion at 180 degree shutter or higher.. Now with EPIC and HDRX you can shoot one track for motion, and use the HDRX shorter shutter track for sharp stills.

YES! I have been wanting to try this. This is where the Dragon/Monstro sensor will really shine as it seems likely it will have even better low light performance.

 

[Axel Mertes]

Also... reviewing is much easier. Just hit the play button and watch until something comes up you like. Hit stop. Rewind until you find it. Make TIFF. Easier than pouring through mountains of images on Bridge or Aperture one by one.

Jim

So that does imply playback is working on EPIC, which feels presumably "around the corner" given the above quote

Btw, does EPIC allow us to send shots/frames via WIFI to a computer nearby?
So no media exchange is required?

Cheers,
Axel

 

[Joseph Hutson]

I'm finding HDRx to be SO cool. Anytime I shoot anything white in blazing light, I don't think much about it. Expose how I normally would for the scene (causing the whites to almost be blown).

Even when a shot isn't clipped, and you shoot HDRx...blend with Magic Motion, the texture of the white material seems to be more drawn out.

 

[David Battistella]

Looking back, I think the Red One Sample could use a hair more Red in the grading. Also notice how my Cooke Panchro/i 18mm (Red One) has way less falloff than my Schneider 35mmXL (MFDB).


Cheers,
CB

Right out of the gate I think the RED has nicer brown tones that resemble film. Film always seemed to get brown correct and natural and that is what I like in the RED images. There seems to be a meatier image to work with in the R1.

Do you upsample to print Christopher?

David

 

[David Battistella]

Shooting strobes handcuffs you to one thing only... stills. The future is motion and stills from the same light and same camera.

Jim

I kind of like the return to continuous lighiting. Strobes are doing thier best to burst sunlight in a pop, but with continous lighting you can get that quality of the old masters who were kind of lighting stuff light classic paintings. Each has it's merits, but more use of continous light will start to bring back a different style, a bit softer and not the razor sharp edge of flash.

The key will be which sources you use. All those tests Gunleik showed with tungsten light in his "first 24hrs thread" had that older style and quality to it. HMI's will be great as well. I've had some problems with flourescent sources with color cast and when shooting speeed.

Looks like LED, tungsten and HMI will rule.

What do you guys tend to use at RED Studios? Some of those BandPro lights really have a gorgeous quality about them.


David

 

[Eric Lange]

So that does imply playback is working on EPIC, which feels presumably "around the corner" given the above quote

Btw, does EPIC allow us to send shots/frames via WIFI to a computer nearby?
So no media exchange is required?

Cheers,
Axel

That’s what I was thinking too, but I don’t really know enough or am rather fuzzy about it all.

On another thread related to play back, I believe they (RED/Graeme ) managed to re-jig how their file format is composed so that some sort of playback is possible. It seems to me the format is modern, flexible and forward thinking a bit like a binary XML type of format (or RED in general) so I am wondering about different possibilities for particular types of studio shoots.

So for a camera and particularly for studio shooting sometimes you have to check for absolute sharpness on a model for example on the eyes and eye lashes. Can be hard to really nail it and by conventional means can be a bit of a hit or miss affair. Obviously RED are committed to creating things that raise the standard in a practical way also. So I am imagining the possibility of being able to grab sets of full res stills or very short sequences just seconds after they have been shot and to throw them up on screen to almsot immediately view. So I am picturing 4k displays/laser projectors in the studio where you can really assess the quality of the imagery but also to absolute verify that the images are WORKING… and have really scored so you can move onto the next sets that need to be shot. So I am guessing at something that can process high res RAWS without too much fuss for shorter sequences that does not directly require a RED Rocket in the pipe line.


Almost 20 years ago I was shooting with the first LEAF digital camera back for recording a culturally very significant wall painting for conservation projects and we/I had a mechanical rig to shoot and mosaic 125 shots that had to be perfectly mosaiced together The (wall painting was secreted behind a giant protective structure to keep the sun off so it was not possible to shoot it from afar). Huge pretty precise contraption on the second story rickety roof of a building to record this massive wall painting. BUT we had a Mac Quadra 900 and a very early magneto-optical drive and large CRT/monitor also mounted on a track way on a separate dolly all moving with this giant camera rig. The travelling review station was crucial so that we could review our shots as we were making them, as it was such an elaborate set up we would not be able to come back and re set up if we discovered the one of the shots in the mosaic was a partial fail. The rig had to be repositioned for each new orthogonal camera position and the set up and break down for each different elevation was substantial. So it was absolutely essential (even in field conditions) to have near real time full res image verification. Simply put, without that the project would have been a total failure. So wind forward 20 years I imagine REDTEAM/JIM/Graeme will enable similar capability. I.e. 4k fast review and quickish verification of lower res moving sequences. Soooo some kind of stripped down lower band width (than Red Rocket) de-coder/processor module, either on board or externally might be in the works or on the menu?

Will be interesting to see what RED team has devised to give photographer’s “real” power.

Ta.

Eric

I think on studio photo set, it’s important to have the ability to “show off” with quiet confidence to the client/creative director, so 4k display on set showing stills and short sequences is a pretty compelling combination I think. In such a situation such amazing imagery speaks for itself. No hype or reassurances required.

 

[Mike 'Fireman' Ross]

You can light to 640 or 500 if you have the latitude. Experimenting with a +1 stop HDRX option so you can get a 1/96 effective shutter if you are shooting at 1/48th for motion, that way you only are pushing a stop.

Jarred, I seem to recall asking about this ages ago... whilst I appreciate the merits of HDRx for motion work, looking from the stills side of DSMC, will traditional stills mode auto bracketing - +2 +1 0 -1 -2 etc. - be something you're going to enable in the firmware in due course? I'd still want to do that a lot for traditional stills HDR workflow.

Mike

 

[Humberto Rivera]

The major different between still photography and motion picture film is; TIME. When taking a “Still Photo” the image captured is just a moment in that instant, that “Moment in Time” is stopped forever, beyond that, the expansion of Time has to occur in the imagination of the viewer. In Motion Picture Film “The Time Expands” beyond that “One Frame”, to build to a point that grasps the viewer, and shows the imagination something beyond that “Moment in Time”. Still Photography captures one frame of “Time”; Motion Picture captures the viewer beyond that “Moment” to another dimension, where more information may create a different understanding of want is being shown. It moves the ball downs the road to capture more than just one frame in Time. It’s then the juxtapositions of different “Motion Picture Moments in Time” that make a scene. Then the juxtaposition of different scenes makes sequence. But hidden within the “Motion Pictures; Moments in Time” there are also “Still Photo”. As an option, you can use HDRx. Shooting S3D at 48 Fps, at a 270 degree shutter, would give you 48 Fps in HDRx with 135 degree shutter, +1 at 48 Fps. Remember, there are two cameras, so one camera in the HDRx mode does record the +1 “X” track at a 135 degree shutter. The exposure at 135 degree shutter would be 1,280 or 1,000 ISO, well within the range for a good still photo.

Humberto Rivera

Just to mentioned; This is a variation on what Elmer Tenkink from The Netherlands said.

 

[Ricardo Moreno]

Hello
This great. Does the EPIC have a sync jack for strobe?. Is that possible?

 

[Elmer Tenkink]

Humberto Rivera

Just to mentioned; This is a variation on what Elmer Tenkink from The Netherlands said.

Your words are much better!!

I would love to see a more in depth dialog about the content side theory of using a cinema camera into photography.
As I don't think there would be any point comparing a Hasselblad vs Red Epic as both have a different look and a way of working.
I really think it could push photography way beyond and create new styles to use a cinema settings into photography.
The only thing I don't see is to try mimic a typical photographic setting with continue lighting.
For me personal it is moving beyond or stop trying. Take the best of both words to create new ways.
Or at least I hope I can do some day.

I am not so good in words as Humberto Rivera

 

[Jarred Land]

Hello
This great. Does the EPIC have a sync jack for strobe?. Is that possible?

Yes.. on the side handle there is an X-sync port for triggering long duration flashes.

 

[Stephen Williams]

As an option, you can use HDRx. Shooting S3D at 48 Fps, at a 270 degree shutter, would give you 48 Fps in HDRx with 540 degree shutter, +1 at 48 Fps. Remember, there are two cameras, so one camera in the HDRx mode does record the +1 “X” track at a 540 degree shutter. The exposure at 540 degree shutter would be 1,280 or 1,000 ISO, well within the range for a good still photo.

Humberto Rivera

.

If the exposure is 48 Fps with a 270 degree shutter the +1 HDRx mode will yield a 135 degree shutter.

 

[Patrick Wieland]

Anyone taken grabs from Fast Action footage for photos yet? (examples?) I wonder how it would look shooting like skateboarding,snowboarding, surfing? For me as a action sports videographer the chance to sell photos from the same exact video I shot would be insane..... Right now its a videographer + a photographer on every shoot.

 

[Eric.T]

Jarred, I seem to recall asking about this ages ago... whilst I appreciate the merits of HDRx for motion work, looking from the stills side of DSMC, will traditional stills mode auto bracketing - +2 +1 0 -1 -2 etc. - be something you're going to enable in the firmware in due course? I'd still want to do that a lot for traditional stills HDR workflow.

Mike

That would be awesome for VFX work. For shooting Mirrorballs HDR's for the CG department !

 

[Kevin Olsen]

Quick note on the stobe/continuous sync feature:

Since a big advantage of strobes is large volume of light out of a small package with little power, how can we get this with LEDs and small power packs? No doubt we're moving the direction of continuous lighting for DSMC, is there going to be a feature that starts the lighting system when the camera is recording only? This would save power and allow on-location shoots to carry small packs.

Unless I am grossly underestimating the power savings of LED continuous lighting, this seems like it would be a big help. Thoughts?

 

[Jannard]

Powerful (tint corrected) LEDs are coming... and cheap.

Jim

Quick note on the stobe/continuous sync feature:

Since a big advantage of strobes is large volume of light out of a small package with little power, how can we get this with LEDs and small power packs? No doubt we're moving the direction of continuous lighting for DSMC, is there going to be a feature that starts the lighting system when the camera is recording only? This would save power and allow on-location shoots to carry small packs.

Unless I am grossly underestimating the power savings of LED continuous lighting, this seems like it would be a big help. Thoughts?

 

[Tim Whitcomb]

Powerful (tint corrected) LEDs are coming... and cheap.

Jim

agreed, IF Light Panels doesn't win any of it's myriad lawsuits against all US and Chinese LED manufacturers, of course

I dont envy you guys the supply chain battles you must wage with competitors for precious metals. circuits etc. (edit, which is why I get the made in US)

The fact you can take more high resolution photos per second with DSMC is the key to getting that killer "still" more often than the luck many of us still photographers depended
on for years. DSMC is a no-brainer, can't believe you guys cracked that nut!

 

[Shawn Booth]

I just wrapped a job that shot Epic-M...

It's simply epic... All I can say.

You guys killed it. Thank you.

 

[Paul Leeming]

Can't wait to get my Canon EF mount and Side Grip for my Epic-X... I'll be able to walk around like I'm holding a large DSLR and get some phenomenal stills with just the gear in my backpack!

The possibilities are truly endless and the HDRx mode means I'll be able to get stills with over 5 stops MORE latitude than any Canon or Nikon DSLR. At up to 60fps in 5K!!!

Cheers from Tokyo,

Paul