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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 :)

DYNAMIC RANGE 22 Stops

greg filipkowski

greg filipkowski

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I know we could get more dynamic range by improving redcine x, I know every one is raving about the dragon however I think we need more controls over our HDRX.
I exported image sequence then took in photomatix,tweaked it then brought it back to timeline and it looked insane, It felt like i had all the dynamic range i would ever want. I think we are all forgetting how powerful this tool is, but with two sliders it really can't be used to its full potential.


https://vimeo.com/63969568


motion https://vimeo.com/64035435
 
Agreed. What Id like is a soft roll off for highlight control. Id also like some form or rounding toll for rounding down data intelligently. Both are needed for dealing with deliverable where bit depth and DR are not yet possible for whats able to be captured or created in acquisition or content creation.
 
I always thought it would have been useful to be able to mark an In and Out point on the normal tracks histogram. The X track would only be used for those areas, binning the rest. At the moment the blend options seem to carry over highlights and noise.
 
There is a lot of debate on this matter. They claim that ISO adjustment is only metadata. I always think that this is true, since most of the time you can recover information from the dark if you shoot underexposed without too much noise, but it depends also on the software you are using. I use Photomatix all the time, but is a little tricky to get the right balance, and for that, you have to use nothing but your eyes. In the other hand, I think HDRX is a powerful tool to keep on Red cameras.

The best possible blend for the video above is at 00:51 without making it looks unnatural, in my opinion..
 
greg filipkowski said:
JPEGS, 3 Folders
A Folder
X Folder
And AX folder that come from the x track iso up to 800 1 Flut

this is not perfect only a test,
https://vimeo.com/63969568
motion next working on auto reordering all those jpegs A B C
Click to expand...

Fucking bonkers Greg. Fucking bonkers.

I need to jump on HDRX more. Thanks for waking me the fuck up!
 
That does start to make me think that my Scarlet upgrade might be to Epic and to get the extra dynamic range approaching Dragon, I could just make use of HDRx. Hmmmm... :thumbsup:
 
Terry VerHaar said:
That does start to make me think that my Scarlet upgrade might be to Epic and to get the extra dynamic range approaching Dragon, I could just make use of HDRx. Hmmmm... :thumbsup:
Click to expand...

You got a point!, you can get probably more stops than Dragon with an Epic + HDRX. (if you know what you are doing)..
 
david_winters said:
Any links to a Resolve HDRX tutorial?
Click to expand...

The problem here is that in order to obtain the best result, you have to use a software specialized in HDR blending like Photomatix, and is very easy to process a video sequence, since it does batch processing, but also there is a plugin for AF, Premiere etc. from these guys herehttp://19lights.com/wp/tutorials/ with excellent tutorials, very good in my opinion. I don't think you can get results as good as those on Resolve, but I could be wrong..
 
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Pablo, thanks for the details and links. I have a copy of photomatix and will experiment with a image seq.

Cheers
 
The problem with current HDRx (especially dialing +3 or more stops) is the difference in motion blur on A and X track (though it can be fixed in post to certain degree). I think in House of Cards they got away with it, because they used +1 stop of highlight protection and of course lit the show correctly. With Dragon, especially using Motion Mount with Global shutter it will look just like film.

That said, you can squeeze so much out of good MX footage (with a bit of noise reduction in certain situations - even more). DI pros and very careful colourists are doing brilliant work on the digital images, especially in Davinci.
 
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