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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 :)

First Clip from Crossing the Line

Thanks very much for that Jason...excellent description

Bringing up the old HDR chestnut there was talk of using pairs of frames for HDR. I think Stuart English said it could be done whilst RED was controlled by laptop.
Say the frame rate is 30fps. First frames may expose at 1/1000 sec at the end of it's frame and then at the beginning of the second frame, it exposes at 1/100 sec. Now forgetting for a moment how you 'combine' these frames, do you see any problem regarding the sensor characteristics of these two 'takes', i.e pixel well/other transistors i/o tranfer characteristics which may prevent this HDR approach from being feasible?

Also I read a bunch of hardware techniques for getting HDR out of a sensors which involved sampling at different cmos/ccd bias levels. didn't read much into it. don't know if RED could do this with firmware change?

Cheers,
 
im.thatoneguy said:
Yeah but... you're assuming a static scene which is highly improbable. Someone walking through frame will experience the same distortion but you would need to isolate the walker. Rebuild a clean plate. Figure out exactly what the velocity of each pixel was and figure out whether the knee should have been one line higher etc and on and on and on.

I think people are just going to need to learn to live with it. Fancy correction plugins could be used if you need to correct the static elements for camera tracking (I suppose you're already rotoing out people in an auto 3d track anyway). But I doubt your finished product will be corrected for the effect.
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I see all this headache being something that will seriously concern producers and DOPs of FX heavy movies and make them not choose RED for their project, specially big budget Hollywood movies where they can just shoot film or used a CCD camera for fx like they have been doing. I doubt they would make their lives harder if they can afford anything. The ones who will have to learn how to live with it are just poor suckers who can't afford anything else, like myself.
Well, it seems there are still place for cameras like the Viper in the market and the Genesis may still be the best option for FX heavy movies because it has a CCD and it's a 12.4MP one. Although it is limited to the 1080p from the HDCAM SR it can go up if another recording system is developed. But even down sampling to 1080p it still looks much sharper than the plain 1080p stuff from the F900 or F950 because the detail of the 12.4MP 35mm sized sensor is still there.
And I thought Sony’s release of the F23 was way too late in the game. I can see now where it will have it’s application. It’s a CCD camera too.
 
Jackson's favorite focal length

Jackson's favorite focal length

Hi guys,

it has not directly to do with the Red, but does anyone have an idea what's the focal length of the lens Peter Jackson is using most of the time? He frequently uses a certain focal length in his movies and also in "Crossing the line", but I can't figure out what it is.

Anyone knows what his favorite length is?

Cheers, Peter
 
RRJackson said:
Yeah, having to make due with the RED will be a burden that's almost too much for you to bear.
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You completely misunderstood the point of my post. I was just pointing out that if this limitation indeed makes into the production models that it could be a reason for fx heavy productions avoid using RED. Not sure why your turned it into a whole " RED is not good enough" post. That's not what I said at all. Don't be so sensitive.
I think RED is a great advance and has surely raised the bar. I’m very happy to be able to get that level of quality for such a low price. But that doesn’t mean I will turn a blind eye to any limitations that may surface.
 
Zk2007 said:
I see all this headache being something that will seriously concern producers and DOPs of FX heavy movies and make them not choose RED for their project, specially big budget Hollywood movies where they can just shoot film or used a CCD camera for fx like they have been doing.
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Timur and his cinematographer have chosen RED for VFX shots. And "Wanted" is considered a big budget Hollywood film. Again... you are making assumptions based on footage you are seeing from an Alpha prototype.

Jim
 
I am new here and basicly dont understand any of the jargon. So i will ask like i am movie impared. What is special about this clip. I have read every post. I have to admitt i dont understand most. But i would love to know what makes it special. I cant see that it is a very clear immage. Is the clip special cause of the cameras used or what? I am sorry if i offend anyone, i just dont know what the fuss is about. Chop it up to ignorance and not rude. I am very interested in understanding the clip. I think one post even said that a normal joe would not be able to see it, well here i am. LOL PLease educated the uneducated.
 
Jannard said:
Timur and his cinematographer have chosen RED for VFX shots. And "Wanted" is considered a big budget Hollywood film. Again... you are making assumptions based on footage you are seeing from an Alpha prototype.

Jim
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This whole thread has demonstrated that it's a good idea to not post the rest of the footage, can you imagine Sony releasing footage from an Alpha prototype?

Some 4k frame grabs would be nice though :)
 
Steve... you are reading my mind.

Jim
 
Jannard said:
Steve... you are reading my mind.

Jim
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As much as I'd love to see the short in its entirety, it may be best to not post it at this time. Also I have to agree with Steve's other statement... Some 4K frame grabs would be excellent. 16bit TIFF or DPX or some such format...

But then again, we would still be looking at images with potential issues from a pre-release camera.
 
As much I'd like to see the whole PJ short, it's probably best not to post it now because of all those naysayers and nitpickers who don't know anything about the process of an engineering project.

But I really hope that you will release it sometime in the future, maybe after the first cams have been shipped.
 
As much techy talk that has been posted here, I just want to say I've watched the clip many times, and from my objective opinion this is a very clean image, almost too clean compared to film, but then again, I honestly don't think the public is going to care... look at Blair Witch, it made millions, and it was shot on a home video camera! I think the bottom line is the story, and the media blitz. Either way, Peter Jackson did a phenomenal job on this short, and I look forward to seeing it in it's entirety!! :)
 
Andrew said:
Are you presuming that Misterium is 3T design or someone mentioned somewhere that Misterium is in fact 3T design?
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Jason has not seen the Mysterium sensor design. So he (nor I) know what it is.
 
So this is how rumors are created.

Here is another rumor:
CMOS could be 6T and more without loosing any coverage of the surface when using multi layer technology. So the sensor is all on top covering almost 100% of the surface and transistors are underneath.
See attached. Maybe Misterium is like that?
 
Mysterium is actually magic. That's why they're playing it so close to the vest. They discovered and empirically proven the existence of magic.

I’ve said too much already…
 
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