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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...

Lee Fingersh said:
What is the fastest shutter speed you can use for 2/3/6 stop HDR?
Click to expand...

Depends from available light and tolerance of strobe like effect.
At 22 deg shutter you are up to strong strobe effect in the shadows.
However I think RED team step on something really cool when extrapolating blur from slow frames to the fast frame in order to fix this phenomenon.
I smell some revolution in resolution again when it comes to blur handling.
 
My current dream is traveling in the Caribbean, shooting Stereo HDRx on my (single) Epic X, of beautiful people and landscapes.
 
Andrew said:
Depends from available light and tolerance of strobe like effect.
At 22 deg shutter you are up to strong strobe effect in the shadows.
However I think RED team step on something really cool when extrapolating blur from slow frames to the fast frame in order to fix this phenomenon.
I smell some revolution in resolution again when it comes to blur handling.
Click to expand...

I don't personally care about motion, I'm only interested in stills. That's why I'm interested in the shutter speed.
 
I can't get my head around just how cinematically powerful carry-on luggage is about to get. The form factor, the sensitivity, the latitude, the resolution (spatially and temporally), the weight, it goes on and on. Coupled with some small still lenses, LED lights, small tripod, lightweight steady cam/monopod, suction-cup, and a laptop.

Dear Lord...interesting times.
 
Forgive my ignorance, but wouldn't the "Vegas" pan appear smoother basically because the combined shutter angle of the two shots is actually bigger than 180°?
 
Lee Fingersh said:
Sorry, I thought this digital stills and motion camera (DSMC) could do stills.
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I'm curious, if you don't care about motion, why are you looking at the Epic?
In Camera Hdrx, pulling stills from motion? Why not a Canon/Nikon?
 
IAN SUN said:
I'm curious, if you don't care about motion, why are you looking at the Epic?
In Camera HDRx™, pulling stills from motion? Why not a Canon/Nikon?
Click to expand...

I shoot Canon now, but there's no way to capture 18 stops of dynamic range. That's why.
 
If they can shoot 50fps at 180 degree shutter with a 6-stop gain, that implies that one exposure is 1/100th-1/6400th and the other is 1/6400th. Perhaps that's the shutter speed limit? Perhaps they could go faster at 3-stops like, say, 1/800th-1/6400th and 1/6400th?
 
Steven-Marc C. said:
Don't know if it's been mentionned yet, but there's an interesting report on PVC about HDRx™™ and the presentation that took place at Red Studios. By Adam Wilt.

http://bit.ly/8ZZPU4
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FANTASTIC ARTICLE. Answers MANY questions about how this works, its uses, and what directions it might take. Corrected a lot of incorrect speculations, including my own.

ABSOLUTE MUST READ! Thanks for the link.
 
What I REALLY REALLY like about this, is that it is stretching latitude in the highlights, rather than doing long exposures for lowlight recovery. After all, the sun is sort of present quite regularily.

And that sorta answered some of my other Epic questions.

I dunno how big I can say it is if one could add 3 stops of highlight latitude AND get that motion as a bi-product.
The times I need to really see what are under the cars that passes me on the street, can be counted on one hand, the times the sun has blown the highlights are kinda innumerable.

I am in no way claiming the death of the ND's or anything remotely as stupid, but the added flexibility for image controll in slim-kit situations is just... mind... blowing....
 
Gunleik Groven said:
What I REALLY REALLY like about this, is that it is stretching latitude in the highlights, rather than doing long exposures for lowlight recovery. After all, the sun is sort of present quite regularily.

And that sorta answered some of my other Epic questions.

I dunno how big I can say it is if one could add 3 stops of highlight latitude AND get that motion as a bi-product.

I am in no way claiming the death of the ND's or anything remotely as stupid, but the added flexibility for image controll in slim-kit situations is just... mind... blowing....
Click to expand...

That makes a lot of sense. Primary exposure is set for midrange and shadows, HDRx is used to preserve highlights. Very clean and easy to use approach.
 
Lee Fingersh said:
I shoot Canon now, but there's no way to capture 18 stops of dynamic range. That's why.
Click to expand...

Canon can capture 18 stops in HDR mode for 1/4 the price of EPIC.
But if you need 50 shots /sec and have the budget, yes EPIC is the one.
Maybe Scarlet is the one if Jim will decide to implement HDRx there for extra $1K as voting indicates it is a wish of majority.

Also I will mention that RED & (EPIC) has the continuous pre fetch mode that buffers last few seconds for the shots that just escaped your attention.
You will not find this feature on any Canon DLSR:-)

This feature alone for some reporters is worth $1M

It saved my a#s a few times in the past.

To answer your question, RED has 1/2000 exposure setting.
I guess EPIC in HDRx mode may not go that high.
 
Andrew said:
Canon can capture 18 stops in HDR mode for 1/4 the price of EPIC.
But if you need 50 shots /sec and have the budget, yes EPIC is the one.
Click to expand...

I don't need 50 shots per second, but I do need the entire HDR to take place during a normal exposure time of, say, 1/50th to 1/1000th of a second. I can't do that on any of my Canons. My question is, can that be done on RED (I know it can at 1/100th), and what is the shutter speed limit for doing it?
 
I don’t think that RED sensor has any better sensitivity as some top of the line DLSRs

So all depends how much light in shadows you want to capture in your HDR picture.
You can’t get out of crashed shadows if there is no light or no exposure time/aperture that will allow you to do it.

You have to use fast lenses and exposure as long as needed for given scene light.
 
Andrew said:
I don’t think that RED sensor has any better sensitivity as some top of the line DLSRs

So all depends how much light in shadows you want to capture in your HDR picture.
You can’t get out of crashed shadows if there is no light or no exposure time/aperture that will allow you to do it.

You have to use fast lenses and exposure as long as needed for given scene light.
Click to expand...

Understood that this approach is about preserving highlights, not high-ISO performance in low light.

Example: Shooting a church environment keeping the dimly-lit scene well-illuminated and with low noise without blowing out the stained glass windows being lit from behind by direct sun.

Example 2: Shooting home or building interiors without blowing out the regular windows and the scenes outside.
 
The reason the highlight exposure precedes the rest of the image temporally is because the chips are recording data in two distinct ways to achieve this version of hdr: 1) they record the brightness of a given photosite, as normal and 2) they record time it takes for any photosite that clips to reach the clipping point.

So technically both exposures are taken at the same time just using different ways of measuring brightness; this results in motion artifacts but it's a clever solution.
 
Andrew said:
I don’t think that RED sensor has any better sensitivity as some top of the line DLSRs

So all depends how much light in shadows you want to capture in your HDR picture.
You can’t get out of crashed shadows if there is no light or no exposure time/aperture that will allow you to do it.

You have to use fast lenses and exposure as long as needed for given scene light.
Click to expand...

Andrew... doing HDR stills is quite a bit different than HDR motion. This is really a silly argument. Sorry.

Jim
 
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