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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 :)

Firmware upgrade 4.0 - What do you think or wish might be in it for Scarlet

Elan and Les - last time I have checked it was "SHOT ON RED" film festival, not "4K FILM FESTIVAL".
And while they do specify that acquisitions (and mastering) had to be done in 4K - I fail to find anywhere the term "true 4K" in the festival specs...

Also - as Mike pointed out - there are far too many posts on this forum where the author (myself including) linked the original R3D (motion or still) or a 4K finished still. Where have You been for the past year since You have registered to this forum?
So somehow I fail to see how anyone here is "hesitant" - aside from you being perhaps "hesitant" to look for these samples...
 
OK got it. Scarlet is not a true 4k camera, but it does produce a 3.2k resolved image in a 4k package. Good thing it says Red on it.

Peter Majtan said:
Elan and Les - last time I have checked it was "SHOT ON RED" film festival, not "4K FILM FESTIVAL".
And while they do specify that acquisitions (and mastering) had to be done in 4K - I fail to find anywhere the term "true 4K" in the festival specs...

Also - as Mike pointed out - there are far too many posts on this forum where the author (myself including) linked the original R3D (motion or still) or a 4K finished still. Where have You been for the past year since You have registered to this forum?
So somehow I fail to see how anyone here is "hesitant" - aside from you being perhaps "hesitant" to look for these samples...
Click to expand...
 
Elan Gunos said:
OK got it. Scarlet is not a true 4k camera, but it does produce a 3.2k resolved image in a 4k package. Good thing it says Red on it.
Click to expand...

No - You did not "get it". The 3.2K of true optical resolution was spec for the original RED ONE's Mysterium (not M-X)...

Scarlet has the same exact sensor as Epic.
Scarlet can shoot 5K - the same resolution as Epic that is true optical 4K (and then some) - but it's HW performance limits this to 12 FPS in the full frame aperture.
I have also clearly demonstrated that Scarlet is capable of shooting 5Kws (Wide Screen) mode at 24P.

But ultimately - Scarlet is the most affordable digital cinema camera that allows for 4K delivery and shoots in RAW - regardless of the badge on the side of the camera...

Peter
 
I don't know any movie that's being shot in 12fps.

You demonstrated that Scarlet is capable of shooting 5Kws (Wide Screen) mode at 24P? Really? Where? How do I activate this?



Peter Majtan said:
No - You did not "get it". The 3.2K of true optical resolution was spec for the original RED ONE's Mysterium (not M-X)...

Scarlet has the same exact sensor as Epic.
Scarlet can shoot 5K - the same resolution as Epic that is true optical 4K (and then some) - but it's HW performance limits this to 12 FPS in the full frame aperture.
I have also clearly demonstrated that Scarlet is capable of shooting 5Kws (Wide Screen) mode at 24P.

But ultimately - Scarlet is the most affordable digital cinema camera that allows for 4K delivery and shoots in RAW - regardless of the badge on the side of the camera...

Peter
Click to expand...
 
Elan Gunos said:
I don't know any movie that's being shot in 12fps.
Click to expand...

I have already shot several time-lapse sequences in 5K HDRx that will feature in my upcoming film Yamato to be mastered in 4K...


Elan Gunos said:
You demonstrated that Scarlet is capable of shooting 5Kws (Wide Screen) mode at 24P? Really? Where? How do I activate this?
Click to expand...

http://www.reduser.net/forum/showthread.php?88804-No-excuse-for-5K-24P-on-Scarlet

It is up to RED now to activate this...

Peter
 
Peter, I've seen many r3d stills posted, but as you know, they never resolve 4K . There and many many posts of new user complaining and then attempts to 're-educate' them to sharpen the shit out of it to try to make it passable as 4K. Gimme a break. Artificial edge detail is BS and if that is what you want, I can point you to some fabulous directed edge upresing code that will give you very snappy edges, but they are fake. People who restore Animation like it to bring back line details but that's not live action so I can excuse it.
So no, posting r3d means nothing to me.
Posting the final product, even in an 8 bit Jpeg, tells a whole different story. Not to toot my own horn, but if you look at the 4K jpg I posted recently, you will see the sharpest color 4K image from a Red camera ever posted on this forum ever. It's has mostly to do with how you post process and what is between the subject and the silicon.

link to 4K FULLRES : http://www.mediafire.com/view/?h731dfny4xz5dlb

Here is a crop out of that frame, not resized , real 1:1 pixel resolution here.

d322eb6fbf9a30b43a83c74f07c9fa78f4ce924eaa86566484ed4592eed3f4986g.jpg





Peter Majtan said:
Elan and Les - last time I have checked it was "SHOT ON RED" film festival, not "4K FILM FESTIVAL".
And while they do specify that acquisitions (and mastering) had to be done in 4K - I fail to find anywhere the term "true 4K" in the festival specs...

Also - as Mike pointed out - there are far too many posts on this forum where the author (myself including) linked the original R3D (motion or still) or a 4K finished still. Where have You been for the past year since You have registered to this forum?
So somehow I fail to see how anyone here is "hesitant" - aside from you being perhaps "hesitant" to look for these samples...
Click to expand...
 
Les Dittert said:
Peter, I've seen many r3d stills posted, but as you know, they never resolve 4K
Click to expand...

I would not use the word "never" as there are plenty of examples that do resolve 4K.
But as You have correctly pointed out - many softer looking footage is due to the glass in front of the camera.
Wait till you see the samples from my upcoming review of the new Canon cinema lenses (even the zooms)... :reddevil:
 
I can't believe so many people are 'demanding' 5k 24fps. This thread was never meant to be yet another 'we deserve free stuff that the camera probably doesn't support' thread. There are already way too many of those in the Scarlet sub-forum. It was supposed to be about realistic hopes for added features, not dreams of a free epic upgrade.

I also can't believe how many of these self same people have decided that they KNOW that the Scarlet is capable of 5k 24fps, as though they have insider information.

It is an absolute dreamworld to think that 5k 24fps will ever ever be available on a Scarlet. A 4k camera for the Scarlet price is an amazing deal and perhaps with all this energy obsessing over 5k, which is obviously the Epic's turf, people would be better served discussing what functionality would enable them to pull more pretty pictures from their excellent 4k camera instead of simply wishing it was a camera still double the price of it.
 
I am looking forward to your tests Peter, I'm sure you won't post a 720P Youtube to show what they can do ! ;)
It would be wonderful to be able to use a common scene to photograph to compare lens's etc in different parts of the world.

Resolving 4K isn't a yes or no type of metric, of course. There is a given contrast falloff as you get there. The best way to evaluate is always to compare two examples and see which one is obviously higher definition in the same areas of the image. I prefer real scenes to black and white charts for two reasons: First, black and white edges are sometimes over optimized by debayer algorithms so it can essentially 'cheat' those obvious edges. Second is that real life scenes are easier to relate to.

I hope more 4K samples get posted here on Reduser, the industries showcase of high resolution cinematography discussion.


Peter Majtan said:
I would not use the word "never" as there are plenty of examples that do resolve 4K.
But as You have correctly pointed out - many softer looking footage is due to the glass in front of the camera.
Wait till you see the samples from my upcoming review of the new Canon cinema lenses (even the zooms)... :reddevil:
Click to expand...
 
How about quicker response when switching back and forth between the zoom toggle? Takes forever currently, especially if you try to record quickly when zoomed in!
 
Les Dittert said:
Peter, I've seen many r3d stills posted, but as you know, they never resolve 4K . There and many many posts of new user complaining and then attempts to 're-educate' them to sharpen the shit out of it to try to make it passable as 4K. Gimme a break. Artificial edge detail is BS and if that is what you want, I can point you to some fabulous directed edge upresing code that will give you very snappy edges, but they are fake. People who restore Animation like it to bring back line details but that's not live action so I can excuse it.
So no, posting r3d means nothing to me.
Posting the final product, even in an 8 bit Jpeg, tells a whole different story. Not to toot my own horn, but if you look at the 4K jpg I posted recently, you will see the sharpest color 4K image from a Red camera ever posted on this forum ever. It's has mostly to do with how you post process and what is between the subject and the silicon.

link to 4K FULLRES : http://www.mediafire.com/view/?h731dfny4xz5dlb

Here is a crop out of that frame, not resized , real 1:1 pixel resolution here.

d322eb6fbf9a30b43a83c74f07c9fa78f4ce924eaa86566484ed4592eed3f4986g.jpg
Click to expand...

les, please don't keep torturing us with that file....give us the promised manual to get there....
you removed the OLPF and replaced it with a custom IR filter? it seems like the removal is the easy part, it has to be done to use the m-mount? correct? how and where do i get the IR filter to put in instead? and more important: how do you handle the artifacts that pretty much MUST come with removing the OLPF?
if i could get frames like this one in 4K, i would not need 5K.....
 
The IR filter is the easy part. Replace a pane of glass. No mount change needed.
The post processing is classified. Right now it takes me about 10 hours to process 1000 frames, is a hint.
It is in R&D. I post examples for the 'what if' factor.

paul schefz said:
les, please don't keep torturing us with that file....give us the promised manual to get there....
you removed the OLPF and replaced it with a custom IR filter? it seems like the removal is the easy part, it has to be done to use the m-mount? correct? how and where do i get the IR filter to put in instead? and more important: how do you handle the artifacts that pretty much MUST come with removing the OLPF?
if i could get frames like this one in 4K, i would not need 5K.....
Click to expand...
 
Les Dittert said:
The IR filter is the easy part. Replace a pane of glass. No mount change needed.
The post processing is classified. Right now it takes me about 10 hours to process 1000 frames, is a hint.
It is in R&D. I post examples for the 'what if' factor.
Click to expand...
ok...thanks! i guess i do need the 5K....but i think i will wait for 6K anyway....
that sample still blows me away.....especially since i used to have that lens as well....
i have been dealing with this for years with leaf and phase backs, leicas and pretty much all kinds of dslrs....the new sigma p&s have some of the cleanest files i have ever seen.....
the epic mono actually looks pretty amazing as well....but of course there are no color artifacts to deal with....
 
David Bourla said:
How about quicker response when switching back and forth between the zoom toggle? Takes forever currently, especially if you try to record quickly when zoomed in!
Click to expand...

That's a good shout actually. That would be great.
 
Robino_J said:
5K WS at 24fps. I would pay $1500 for firmware,
Click to expand...

I would pay $19,000. Oh...that would be Epic. Heeeee!!!

In time, they will do firmware/upgrade for those fps that we all want. I can only dream.
 
My biggest Red issue other than power management is "black shade."

How do people in humid and hot climates deal with it?

New Orleans in the summer I try to avoid being out of air conditioning for more than 10 minutes at a time. With a DSLR that's long enough to get out of the car, get the shot, and get back in. With Red that's not even long enough to calibrate!

They've got to get that time down.
 
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