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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 :)

HDR Mode...

Gavin Greenwalt said:
Then again there is available light and there is "available light". I would say the GF experience falls into the latter. Most of the locations I've seen in trailers and what not had really great aesthetic lighting out of the box. Just goes to show the importance of great location scouting/set design.
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That is exactly the point. A lot of the videos shot to promote the 5D video mode showed some AL situations and I didn't like the resulting colour palette at all. On the other hand interior designer spend a lot of money on making the ambient light in a building right. So... (Btw. are butterflies AL?) :)

Nevertheless, the lowlight capabilities will put filmmaking in the same position as literature has been for centuries: should it be realistic or hightened realism, abstract, romantic? Name it what you like, literature has been there.
 
Felix K. said:
That is exactly the point. A lot of the videos shot to promote the 5D video mode showed some AL situations and I didn't like the resulting colour palette at all. On the other hand interior designer spend a lot of money on making the ambient light in a building right. So... (Btw. are butterflies AL?) :)

Nevertheless, the lowlight capabilities will put filmmaking in the same position as literature has been for centuries: should it be realistic or hightened realism, abstract, romantic? Name it what you like, literature has been there.
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Interesting comparison, never thought of it that way.
 
Your not the only one multitasking. College keeps you on your feet.
 
Andrew Rieger said:
I worked on a project with all available light (with some bounce material for additional lighting and for some of the scenes), we picked locations that had good lighting and then did a time lapse over the course of the day to see when the lighting was optimal and then shot during that time the following day (we lucked out that the whether stayed the same.) Granted, this is not practical but it allowed us to nail the optimal shooting times for the look and feel that we were going for.
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Great idea!

Cheers,

Paul
 
Paul Leeming said:
Great idea!

Cheers,

Paul
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I was interesting, we actually had one scene where we picked three main camera angles and actually set up three cameras to capture the timelapse from the different angles. I would not recommend it for the lazy since we we working with three timelapses that night and a lot of pictures in quicktime but it was an interesting experiment and was very useful for the type of shoot we were doing.

Next time I will set the intervalometer to capture a frame every 10 minutes instead of the usual frame rate to make it easier to handle all the pictures.

For that shoot, we tried to do as many interesting things as possible given our budget. We created car instrument lighting using flashlight apps on around 7 iphones and built a large underwater housing with a plexiglass sheet. We placed our camera about three feet away from the sheet and used a 14mm lens to capture the water line in the center of the frame, allowing us to capture a conversation on the pool deck while showing children swimming under water at the same time while having both the children and the parents in focus. The shot was quite interesting because the parents were very small and the children looked much larger due to the underwater magnification effect. We also built a rig with a mirror at a 45 degree angle allowing us to place the camera on the floor and shoot straight up as if the camera was built into the floor. Ahh, good times.
 
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A lot of people think of tone-mapping when HDR comes up. We don't. We think of high dynamic range.

Jim
 
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Matthew Gorveatte said:
You are right; but not really if you think I just opened this file in photoshop and tone-mapped it, with the photo-matrix pro plugin. This is very different from that. More what you are talking about. real hdr. I am a photographer and have been making hdr's for a while so i took my pipeline knowledge of that to make a video out out of the output files from my camera. I have it automated now. takes me 6 input sets to get this out of the video camera. I am shooting on red this week to do the same to that clip. this was a test out of a very low bit depth camera. So the high bit depth of the red will help me out for sure. you will see a vast improvement to any footage that i can use this technique on. this is no need for two cameras. and you can have movement for real time in hdr. from any nice video camera. I will be making the automation to run on red raw files. so you can drag and drop the r3d file on to the program and it will pump out the video after you own input sets, of creative choice. You can Email me at

matthewgorveatte@gmail.com

here is the video in discussion.

http://www.pinkbike.com/video/124664/
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hey matt its nice to see u here on the red forums, been watching u for a while on pinkbike. thats an impressive thing u did there with your camera.
 
Greetings Redusers!

Finally jumping in here because this announcement ‘changes everything’ in my opinion. You may happen to know me as MiLapse the admin over at the timescapes.org forum (founded by my good friend & longtime member here Tom Lowe). You also may know me as one of first to explore HDR timelapse ( www.hdrtimelapse.com ). By mid 2007 I was providing data-sets to major manufacturers working on HDR display pipelines (sorry NDA!). Although I’ve already experienced the thrill of capturing the world @ 32pbc (albeit around 1 frame per 10 seconds!), my imagination constantly wanders to 24fps. I’ve kept my eyes to the horizon watching and waiting. What can I say… Red has captured my interest in the past but now Red is capturing my dreams.

Jannard said:
"A lot of people think of tone-mapping when HDR comes up. We don't. We think of high dynamic range.”
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My god… Thank you! For way too long the pop culture of tone-mapping, self promotion, hype and book selling has co-opted the acronym to suit whatever need might arise. You constantly hear this ridiculous babbling about good, bad, right, wrong. Look, I’m hear to tell you; if you say “I hate HDR” that’s like saying “I hate LIGHT”. Let’s hope this ‘dark age of misunderstanding’ will be illuminated as the imaging populous starts to understand what exactly dynamic range means. Right now there's too much 'it's my prerogative / art' chatter and not enough 'real' understanding and 'accurate' discussion.

Anyway! glad to finally be here. Elated to hear how this is implemented. My 2c: Please give us something like 24fps EXR file sequences. That would be a HUGE step forward!

Cheers! here’s to tomorrow! :thumbup1:
Best, Jay
 
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Welcome, Jay!

Welcome, Jay!

Jay's work as "Milapse" is inspiring, guys, go check it out! Once we get to film frame rates things will really get interesting, can't wait. :emote_hippie:
 
Digital Coast Films said:
HDR is quite useful for pulling in all that range. The tonemapping doesn't have to look "Grunge" though. These are all high contrast scenes I "attempted" to make look less so. All took 7 to 9 shots, merged to HDR then tonemapped. My goal to get all that dynamic range into an 8bit image.

I'm extremely excited about Scarlet now :)

dci.jpg
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This is using tech in the right away, in my opinion - way more interesting that that typical HRD look that to me resembels bad velvet paintings from the 1950s. Very, very nice.
 
Rob Ruffo said:
This is using tech in the right away, in my opinion - way more interesting that that typical HRD look that to me resembels bad velvet paintings from the 1950s. Very, very nice.
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hmm..but these look too surreal..what happened to the shadows..?

Could be great for certain movie look..but seems abit extreme.
 
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