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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 :)

EasyHDR on hold...

Brigham Edgar said:
I think you will find the answer is no. I asked a similar question about EPIC going to 125 fps instead of 120fps which would be great for all the 25fps people but the answer was no, and he didn't seem to happy about me asking. But i must agree, 50fps instead of 48fps with HDRx™ is a MASSIVE plus for everyone in PAL land which is where i think all the posts were leading. It can be gotten with the frame size or redcode one would imagine, but it would have been a great thing. But heh...i guess the answer is to look at the rest of the package:)
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You can get 50fps HDRx with a slightly smaller resolution and 16:9. The overall data rates are locked in. We can't squeeze any more out of the sensor or electronics. Pick any combination of frame rates and resolution, coupled with REDCODE that doesn't exceed the max data rate capability of the system. Pretty easy stuff...

Jim
 
Jannard said:
What? Where are you reading this? If I haven't said it it is a guess.

25fps will be supported with HDRx™ in all cameras.

Jim
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It was I who asked if HDRx on the Epic-S would be limited to 24 fps at 5K and 30 fps at 2.35:1, as you had said previously that Epic-S supported about half the data rate of M and X. It was a reasonable question -- not a statement. Sorry if it caused any confusion, and thanks for answering.
 
Lawrence Bansbach said:
It was I who asked if HDRx™™ on the Epic-S would be limited to 24 fps at 5K and 30 fps at 2.35:1, as you had said previously that Epic-S supported about half the data rate of M and X. It was a reasonable question -- not a statement. Sorry if it caused any confusion, and thanks for answering.
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My fault. Sorry. I get overloaded sometimes between building these cameras, testing them and answering questions. I'll try harder.

Jim
 
Jannard said:
Please allow us to do our job. We truly have your best interests in mind.

Jim
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That's because as jarred and you have said countless times. "We are also the customer" - why cant people remember that they are blogging with the people making the cameras that everybody wants to use, including themselves!?" ah well.

Perhaps a 3rd line to the famous signature for 2011?

"Remember, we are RED customers too" because its wild how these threads turn ... like RED would deliberately withhold any feature set. if anything, you guys cant stop adding them!

HDRe on hold. but we have a more flexible and powerful tool available now. uh, cool. so how about leaking (via private email first to ALL EPIC reservation holders) about what Hotel the RED PARTY is at in VEGAS so we can score rooms? :)
 
Relieved to hear that monitoring is being considered. Even if it were a still frame with a default blend ratio rather than a live feed, it would solve a host of producer/director/client concerns (as you obviously understand).
Every day just gets better, folks. Can't wait.
 
Really good choice to go "HDRx™™™™-only" for recording.
Some form of eHDR™™™ / Under-Normal switching for the monitor output would be excellent.
 
Jannard said:
HDRx™ support will come inside REDCINE-X and will be supported by Storm. Additionally, we intend to get it into the SDK for other 3rd party use.

Jim
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Would love to see support for DaVinci.

M
 
Jannard said:
You can get 50fps HDRx™ with a slightly smaller resolution and 16:9. The overall data rates are locked in. We can't squeeze any more out of the sensor or electronics. Pick any combination of frame rates and resolution, coupled with REDCODE that doesn't exceed the max data rate capability of the system. Pretty easy stuff...

Jim
Click to expand...

Thought as much, same deal as per RED 1. With so many options in EPIC it's not really an issue, but good to know it's the same deal. Thanks for confirming Jim.
 
Joel Arvidsson said:
Does the software recordnice the two streams automatically or do you have to choose one stream first and then "find" the other one and choose it?
Or even better, does it show up as one file?
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One file, software knows it's HDRx
 
Gregory Karydis said:
…One scenario where Easy HDR will be used is IF you are shooting in a remote location with just a laptop for backup where the client has no editing options AND you have limited storage space AND you need to upload directly to the internet or something equally mobile run & gun one-man-shoot…
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Seconding this; there will be ENG and EFP scenarios where eHDR™ would be handy.

If my understanding is correct that eHDR™ has roughly the same data rate as non-HDR, then this is a second reason reason to offer it on the already 1/2 data rate Scarlet.

eHDR™ does not preclude the control of HDRx™, it would be an available alternative. But in cutting edge engineering in a fast-moving market you have to set priorities and make choices.

I would not be surprised if the smart engineers at Red have a cool, optimized solution in mind. Maybe something like a full-RAW high stream, and a low stream consisting only of the bits below the high stream, timed for exposure lag via some type of logical buffering algorithm. A solution like this might within current hardware achieve 80+% of the control offered by fully separate high/low streams, at the cost of far less than double data rate. (Motion blur might be weird but fixable in post.)
 
Would EasyHDR have been possible on the Fixed Scarlet? Is that why it got more expensive?
 
I am very happy to have this feature on hold and all efforts for releasing the cameras. It's a feature that may or may not be required for shooting.
 
Michael Brennan said:
.... the mantra of "bake nothing in" ignores the facts that we bake in focus and exposure, not to mention lighting and framing:)
Mike Brennan
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... which is somewhat the point.
focus is controlled on set fairly well as it is "quite" easy to spot.

exposure and colors are better finished in a suite with a controlled and calibrated environment ... and the eyes being tuned in to it.

Same goes for approaches, where lighting "is painted" ... in post.

Of course, this is a more artistic approach and may not be welcomed by the ENG shooters or trained video technicians ...

The beauty of the RED concept is,
that it is PRO as a framework and leaves it up to the operator
(or artist, if so)
to choose his individual path to a genuine outcome.
 
How much time is there between the two frame grabs? Or is it really just one grab but just stored in camera with two exposeres? ... been dying for this one BTW. The other thing I'd really like is to be able to talk to focus motors in my nikon and canon lenses with redmote. Can you?
 
Clearly off topic here, but Detlev mentions about "lighting being painted in post." Can this really be done effectively? I've got a shot of an actress in bright, but not strong direct light. Can a direct light be "painted" onto the actress and look effective?

Stephen
 
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