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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 Overview...

Does the Magic Motion blend set the bias of the blend? Aka the center of the blend?

Can you have the X Track blending at A:0.6 Exposure or A:0.8 exposure so that you don't get any sharpness blending in until the A track pixel hits 0.8?

Or is it more like a fader where you're blending the two from the start of the x track's bottom exposure? What if I want 100% X but only for anything > A:1.0? Obviously I could do it in comp but it seems like magic motion would want two sliders: Amount and Bias.
 
Gavin Greenwalt said:
Does the Magic Motion blend set the bias of the blend? Aka the center of the blend?

Can you have the X Track blending at A:0.6 Exposure or A:0.8 exposure so that you don't get any sharpness blending in until the A track pixel hits 0.8?

Or is it more like a fader where you're blending the two from the start of the x track's bottom exposure? What if I want 100% X but only for anything > A:1.0? Obviously I could do it in comp but it seems like magic motion would want two sliders: Amount and Bias.
Click to expand...

We are developing many tools for HDRx combining. Simple ones that everyone can use and more complex ones for trained professionals. HDRx is new... we expect to add capabilities along the way.

Jim
 
I am very much looking forward to HDRx™ and don't want to detract from the enthusiasm for it on this thread by going off topic but I was wondering since in HDRx™ you are already combining two R3D streams into a single file is there any planned development for DSMC where the streams from two cameras in a stereo rig can be joined and recorded into one R3D on one camera thereby simplifying data management or do you consider the potential benefits of such a system to be too limited to bother investing R&D time into?
 
This whole idea makes me crazy excited! I love that we are about to begin experimenting with new technology that will enable us to make images that people have never seen before on the big screen. I can't wait to see the different looks we come up with using HDRx. It seems there are tons of new creative options for cinematographers and photographers packed in the Epic. I feel sort of like an explorer. We got a map (Reduser) and the ship is coming (Epic). All we need to do now is use those tools to find undiscovered imagery. Exciting times coming...
 
Second question:

Is there likely to be any way down the line of actually monitoring the full DR being captured in HDRx mode whilst recording on set? Will it be limited to the histogram or could we see it on a monitor output?

As much as some DP's, Directors and others have come to embrace the idea of not seeing what you can get out of the files whilst shooting and waiting for a moment at the DT station or even until the grade there are many who just feel much more comfortable seeing it live as it's recorded and for those people it can be influence enough make them choose a different camera system for a project.
 
Thanks Jim for the excellent explanation of these two new technologies. I have to say, I am truly impressed. Congrats to all who put together this tech.
 
Jannard said:
So you have two tracks... A & X. They can be combined together with a slider. That can mean 50-50, 61-39, 39-61, 25-75, 75-25, 100-0, or 0-100. All of one, all of the other, or any combination in between.
Jim
Click to expand...

And the serious fun starts when we get to a point that we can can make a window (shape/mask) in a color grading system and combine only in the specific area selected. This is going to just be awesome.
 
Quentin Brown said:
Is there likely to be any way down the line of actually monitoring the full DR being captured in HDRx™ mode whilst recording on set? Will it be limited to the histogram or could we see it on a monitor output?
Click to expand...

This has been addressed. At the moment no such feature exists but they've heard the feedback and so such a feature may be implemented. I believe Jim said "no promises". I'm not expecting it but it would be huge for me as well.

Personally I've gotten enough information from RED and feel like I ought to sit back and wait for the camera now to answer further questions through experimentation. Their answer to most questions now seems to be "that's intrinsically impossible", "we're working on it", or "we'll take it into consideration and may address this when higher priority issues have been dealt with".

I think we're in good hands.
 
Mark L. Pederson said:
And the serious fun starts when we get to a point that we can can make a window (shape/mask) in a color grading system and combine only in the specific area selected. This is going to just be awesome.
Click to expand...

You mean REALTIME ... hehe ...!

... from what i´ve got in understanding so far, we could create a workflow exporting both tracks individually and put´em into After Effects ... with all wet consequences ... couldn´t we?


edit: or any other compositing tool, for that matter
 
Mark L. Pederson said:
And the serious fun starts when we get to a point that we can can make a window (shape/mask) in a color grading system and combine only in the specific area selected. This is going to just be awesome.
Click to expand...
Mark, is this a hoped-for thing, or something already being worked on?
 
Stereo

Stereo

Jannard said:
We are developing many tools for HDRx™ combining. Simple ones that everyone can use and more complex ones for trained professionals. HDRx™ is new... we expect to add capabilities along the way.

Jim
Click to expand...

Just out of curiosity:

Can I shoot HDRx 4k stereo, same info on both channels, export 2x2k, a couple of millimeters apart, and thereby getting stero for close-ups? Just a thought.
 
Jim: what you are doing with HDRx™™ is exactly what sound recordists have been doing forever. I can't believe nobody has thought about this before. A recordist will take the signal from a mic and record it on two separate tracks. The 1st track at high levels, and the second track at a lower level (to have usable sound where an actor's voice gets clipped because he suddenly yells). Same thing here, just video clipping rather than audio. Bravo!
 
Dan Finlayson said:
This is all very cool with the multiple exposures. But one thing I just don't understand:

You must have more light to get a denser exposure. Having two different shutter speeds accomplishes this.

So what does changing the ISO ACTUALLY do? To my understanding, any sensor has one, and only one, sensitivity, just like film. Of course, you can push or pull process film at the expense of DR.

So what really happens to the DR when you change ISOs? Why couldn't you have two tracks, each with the same shutter, but with two different ISOs? This doesn't make sense to me, but neither does 13 stops of DR at multiple ISOs in regular mode.

Perhaps this has been asked, but I haven't found an answer yet!
Click to expand...

you're right, you do have more than 13 now if you're tricky with post. But this will be even more - no matter ISO, clip is clip and noise floor is noise floor - but the total is a bit more than 13 stops now on red One MX.
 
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