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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 :)

HDRx footage...

Joe G. said:
Has anyone graded that Las Vegas clip into something pretty?
Click to expand...

Even if you could correct for all the different color casts and temperatures - which in itself is impossible to do for all the people since the cast and temperature vary depending on where they are standing, there would still be the problem that the people are all evenly lit. They are in giant dim softbox - insufficient directional light to give them shape or highlights.

I think the clip should be enjoyed for what it is - a demonstration of the very cool motion blur of EasyHDR with "magic."

If you want to see something pretty look at the tiger. And as far as pretty HDR footage, I have a feeling we're going to be seeing some very soon.
 
Gavin I'm talking about stereoscopic *asterisk*, not CG/3D. When I start working with CG creatures and stuff hopefully I'll have one of those elusive 'budget' thingamajigs. Remember RedUser is populated with professionals of all generations and income levels. ;) I'm just one of those 3-man team type filmmakers saving up for and lurking for all things Scarlet.
 
Joe G. said:
Has anyone graded that Las Vegas clip into something pretty?
Click to expand...

if you're only doing a primary correction, you're really forced to choose between lighting for skin tones and correcting for the city itself...if you light for the city, the skin looks sallow - a little yellow or a little green, if you light for skin, the city looks a little pinkish. so it would take a little effort, beyond the time spent playing around, to get it completely right, with secondary grades and some tracking masks.

you should try it yourself and see. it is definitely a fun exercise to push it around a bit, even in its compressed form. there's some nice color contrasts. but this is a run and gun clip, as already mentioned, not lit for any particular purpose other than to observe the motion behaviors of a newly enabled beta function.
 
Disclaimer: image does not represent the full potential of material, in terms of usable range, color precision and resolved detail.
Color manipulation test is done on highly compressed material shot during development. Image also does not represent the final aesthetic choice, due to manipulation limitations.



hdr1cc4.jpg
 
HDRx Demo at RED Studios

HDRx Demo at RED Studios

I just saw a demo last night of the HDRx projected in 4K at RED Studios screening stage. I encourage EVERYBODY in VFX to see this! Absolutely, hands down the biggest advancement in the practical use of HDR I've ever seen.

Seriously, I'm not trying to be a cheerleader here. I write very few posts but I feel compelled to share what I've seen with all my friends in the industry. If you thought the camera was a game changer, wait till you see this.

Seeing the jpg of the Fremont Street (Vegas) post doesn't do it justice. You have to get over to RED and see this for yourself.

Since the data is separated into two streams, there is full control with how you put the two together. Whether it's assembled in camera or you combine the range in post using the tools such as the Foundry's HDR motion plugin - you will be stunned at the results. GET OVER THERE AND SEE THIS ON THE BIG SCREEN!!!

But what blew me away even more, was the "Magic Motion" routine. The motion blur that is created using the two streams is some of the most pleasing to the eye I've seen.

We all know that with mechanical shutters, there has always been an issue with strobing when panning. (The Arri cameras of course produce more side to side strobing as opposed to the Panavision due to the difference with horizontal vs. vertical shutter movements)

Emulating the 'shutter angle' in digital cameras has always sought to produce this effect of blur created from the leading edge and trailing edge of the shutter. Whether you liked it or not, it was considered 'filmic', therefore we've sought to mimic.

BUT... the motion blur that is produced by the "Magic Motion" routine is soooooo much more pleasing to the eye, it has the filmic look, but without strobing or skew issues associated with most digital emulations.

Here's where the cool stuff comes in for people who take the images apart and reassemble them for VFX purposes or even extensive DI routines.

YOU CAN USE THE SHARPER, (ie: leading edge of the shutter) to do your motion tracking, 3D tracking, and highlight retention like never before. Discrete, sharp, pinpoint tracking points from the highlight passes can be used for the tracking and matte separation needs. YOU CAN SEE THE FILAMENTS IN THE LIGHT BULBS on the many lights in the shot.

Anyone who has ever tried to shoot Vegas lights, at night knows what I'm talking about.

And if you thought that was the height of cool, RED is currently working on a proxy mode workflow for use with NUKE for instance, so you don't have to move all the data across your network until you need it or decide to render.

Having the two records available for the DI process alone is a major breakthrough.

Okay, I'm really starting to sound like a groupie here... don't take my word for it. No one is serving up the Kool-Aid here. It's real.

GET OVER THERE AND SEE THIS IF YOU CAN!

By the way, the Epic camera, (yes I got to shoot with it) is hands down the best camera in the world. The extreme range and sharpness does the opposite of what you'd expect. NO it doesn't make women look harsh... it actually represents their subtle tones. The absence of in-camera sharpening produces a pleasing range of tones in the areas you need them most. The edges. Literally there are measurable levels of range on the EDGES.

Matte extraction never had it so easy.

Thank you Jim, Jarred and Deanan for this demo.

j.
 
JonFarhat said:
I just saw a demo last night of the HDRx™ projected in 4K at RED Studios screening stage. I encourage EVERYBODY in VFX to see this! Absolutely, hands down the biggest advancement in the practical use of HDR I've ever seen.

Seriously, I'm not trying to be a cheerleader here. I write very few posts but I feel compelled to share what I've seen with all my friends in the industry. If you thought the camera was a game changer, wait till you see this.

Seeing the jpg of the Fremont Street (Vegas) post doesn't do it justice. You have to get over to RED and see this for yourself.

Since the data is separated into two streams, there is full control with how you put the two together. Whether it's assembled in camera or you combine the range in post using the tools such as the Foundry's HDR motion plugin - you will be stunned at the results. GET OVER THERE AND SEE THIS ON THE BIG SCREEN!!!

But what blew me away even more, was the "Magic Motion" routine. The motion blur that is created using the two streams is some of the most pleasing to the eye I've seen.

We all know that with mechanical shutters, there has always been an issue with strobing when panning. (The Arri cameras of course produce more side to side strobing as opposed to the Panavision due to the difference with horizontal vs. vertical shutter movements)

Emulating the 'shutter angle' in digital cameras has always sought to produce this effect of blur created from the leading edge and trailing edge of the shutter. Whether you liked it or not, it was considered 'filmic', therefore we've sought to mimic.

BUT... the motion blur that is produced by the "Magic Motion" routine is soooooo much more pleasing to the eye, it has the filmic look, but without strobing or skew issues associated with most digital emulations.

Here's where the cool stuff comes in for people who take the images apart and reassemble them for VFX purposes or even extensive DI routines.

YOU CAN USE THE SHARPER, (ie: leading edge of the shutter) to do your motion tracking, 3D tracking, and highlight retention like never before. Discrete, sharp, pinpoint tracking points from the highlight passes can be used for the tracking and matte separation needs. YOU CAN SEE THE FILAMENTS IN THE LIGHT BULBS on the many lights in the shot.

Anyone who has ever tried to shoot Vegas lights, at night knows what I'm talking about.

And if you thought that was the height of cool, RED is currently working on a proxy mode workflow for use with NUKE for instance, so you don't have to move all the data across your network until you need it or decide to render.

Having the two records available for the DI process alone is a major breakthrough.

Okay, I'm really starting to sound like a groupie here... don't take my word for it. No one is serving up the Kool-Aid here. It's real.

GET OVER THERE AND SEE THIS IF YOU CAN!

By the way, the Epic camera, (yes I got to shoot with it) is hands down the best camera in the world. The extreme range and sharpness does the opposite of what you'd expect. NO it doesn't make women look harsh... it actually represents their subtle tones. The absence of in-camera sharpening produces a pleasing range of tones in the areas you need them most. The edges. Literally there are measurable levels of range on the EDGES.

Matte extraction never had it so easy.

Thank you Jim, Jarred and Deanan for this demo.

j.
Click to expand...

Jon... we had been so wrapped up in how cool "Magic Motion" looks that we failed to mention all the advantages for VFX. I think we should probably set aside a RED Day for VFX here at the studios so all can see what you are talking about.

Jim
 
Gunleik Groven said:
Again, and I'll say it a third time on this thread:

Gee, did you see the motion in that clip????

HDR is cool, but GEEEEEEE!
Click to expand...

If I understand your question, you're asking if I saw it moving or just a still. The answer is YES, this was a full motion shot, 24 fps, projected in 4K - huge.

The motion blur was stunning. We stopped at specific frames, played it over and over - stunning. This was not just a still frame with motion blur.

j.
 
Did you get to see a sample with the Foundry's More Natural Motion Blur plugin?

Is there enough range in the HDRx exposure to find sufficient tracking points on things other than lights? (i.e. Do you capture a lot of midrange or is it mostly too underexposed to use?)
 
Ok, here is a WHOLE SLEW of quick Color Correction looks.

compressed footage, darker side of things, mixed light, fast quick adjustments, blah blah...

The first one is the original for comparison.

http://vimeo.com/15196305

and two more extreme ones

http://www.vimeo.com/15201213

Jeff

Cinematographer • Editor • Color Correction
 
Last edited:
Not just discrete highlights.

Not just discrete highlights.

Gavin Greenwalt said:
Is there enough range in the HDRx™ exposure to find sufficient tracking points on things other than lights? (i.e. Do you capture a lot of midrange or is it mostly too underexposed to use?)
Click to expand...

From what I saw, you could track on the sharp differences in the mid and low end as well. Jim's offer to bring in the VFX folks would (I assume) include the option of sending people back to their shops with material to prove it.

j.
 
Graeme is working on AlphaTwo version of HDRx tools. I would expect everything to get better from here, although the starting point is not too bad. :-)

Jim
 
Jannard said:
Graeme is working on AlphaTwo version of HDRx™ tools. I would expect everything to get better from here, although the starting point is not too bad. :-)

Jim
Click to expand...

That would be a big understatement IMO. Keep up the great work - and get those cameras out the door. :)
 
Jannard said:
... I think we should probably set aside a RED Day for VFX here at the studios so all can see what you are talking about.
Click to expand...

I would love to go to such a RED Day. VFX is a big part of what I do, and a major reason I love working with RED footage.
 
JonFarhat said:
...
BUT... the motion blur that is produced by the "Magic Motion" routine is soooooo much more pleasing to the eye, it has the filmic look, but without strobing or skew issues associated with most digital emulations. ...
j.
Click to expand...

Hmm... could it be that Magic Motion could help solve the horizontal artifacts caused by rolling shutter when shooting flashing lights (like lightning)?

I am referring to my struggles described in this thread:
http://www.reduser.net/forum/showthread.php?t=47450

Phil
 
Motion HDRx should become a real trademark of RED new cameras Epic and Scarlet.

This feature is going to differ and to give RED new cameras a huge advantage in comparison with other digital cine cameras in the future.

That means also Scarlet MUST HAVE MOTION HDRx otherwise is ... and you know what I mean ...
 
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