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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 :)

ISO, ISO...

Jannard said:
We believe that sharpening (if needed) should be the very last thing in line to do... if done early, like in camera, its effect is compounded throughout the post chain (ringing). I guess we are alone in our thinking.

NR is a controversial subject. The "other guys" don't give you time to think about it because they do it for you. We let you decide if you want/need it. Unfortunately, many don't even know that this is a valid tool. So we just made our new sensor have less noise. :-)

Jim
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I'm wondering if with the new color science there might be some "best practices" or "basic settings" documentation. I know that when I first started shooting RED, the post processing choices were daunting and it took some time to research and test what all the settings meant, along with which ones were best for certain scenarios. Some clear basic settings guidelines might serve well to attract new users and get them good results on their first try. Recommended noise reduction settings (or ranges) for different ISOs would be great.
 
David J. Shuman said:
Not only do I film time-exposure/time-lapse but am deeply invoved in Astronomy, imaging. Ever since Scarlet / Epic, could not stop wondering how much of an impact this would have on the specialty world of deep-sky astrophotography! Filming eclipses with HDR / low-noise fisheye panoramas of the Milky Way.
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I do a bit of time-lapse myself and use to long for the RED ONE's ability to do time-exposures. The one major drawback to this would be battery-life. Unless they have a work around that would permit filming an all-nighter with one-two at the most batteries, why not stick with an slr.

2nd drawback is that when I pull an all-nighter, I'm usually sacked out in the back of my truck while the camera is doing all the work. I don't want to have to worry about deer, elk, the weather ruining my 25,000 camera.
 
Eric... good question.

When FLUT becomes available, here is my check list.

1. Set REDcolor and REDgamma
2. Check or set White Balance
3. Adjust FLUT Control (if you have not clipped RAW, you have complete brightness/mid grey adjustment without clipping).
4. The image should looks incredible at this point. Create whatever look you want from here. There are many new tools to do what you want.

The "F" in FLUT stands for "floating point".

The new color science of FLUT is more accurate than Build 20 by quite a bit.

I can't tell you all the features in the FLUT-enabled REDCINE-X but you will be surprised and happy. The scoop will be out in a few weeks.

FLUT works really well for RED ONE (Mysterium) footage. It works even better for Mysterium-X footage and there will be an in camera FLUT component to EPIC.

Hope that helps...

Jim
 
I have to say that I was surprised by some R1 footage I shot recently where I pushed the ISO to 800 and expected some serious noise issues. A native grade and an export to an uncompressed format left me with much less than I thought. Didn't even add noise reduction at the end. That's not to say I haven't run into challenges with the R1 and low light. I have. But in fairness to RED, when lit reasonably, graded natively from R3Ds, and exported out uncompressed with full debayer, the noise can be minimized. I welcome the new dynamic range, the higher ISO ratings, the new color science, accuracy, etc. It's going to be amazing. But I expect, like the R1, the best images will come from those who know how to light, know how to nail exposure, and know every characteristic of the way the camera captures images in a variety of situations.

I can't wait for the new cameras. I can't wait for the new post tools. It's going to take something that is already great and make it that much better. It will provide even more flexibility than we've had with the current RAW workflows.

Exciting stuff guys!
 
Jannard said:
FLUT works really well for RED ONE (Mysterium) footage. It works even better for Mysterium-X footage and there will be an in camera FLUT component to EPIC.

Hope that helps...

Jim
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Sweet. The rewards of shooting RAW just keep coming and coming.
 
Pawel Achtel said:
Sweet. The rewards of shooting RAW just keep coming and coming.
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I agree Pawel. the real advantages of Floating point are about to become more obvious and more flexible. I feel Jim ,Graham , Deanon and the boys have pieced together some color science that will make a substantial difference in post. My hat is off and I look forward to seeing it in action.
 
Jannard said:
Post tools are there to help you when you need it. It should be noted that all DSLRs use NR and sharpening in camera. The higher the ISO, the more they apply. It makes sense. Why not?
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I guess you mean NR and sharpening makes sense in post, but within the camera it's not that a sensible move.

The DSLRs that use NR and sharpening in camera limit the advantages of the raw workflow towards just a smaller file size. This is a sad fact of life and a sign that whoever are behind such a decision have not captured the very basics of linearity --in case of a linear map one can scale by real numbers either on the domain or range side without affecting the result. Guess, interpreting the sensor as map is the point which is missed. Or in other words, understanding that setting the ISO of a raw file corresponds to adjusting the iris, is the difficult part.
 
Deanan said:
That's primarily because we aren't throwing out the highlight range as you push the iso up.
Click to expand...

this is great to have it included as standard.. what we have done for some time now is create different LUT's to load on our cameras instead of changing the iso.. It has worked very well but it seams we soon won't need to do this.

regards

Michael L
 
Thanks Jim for working on "highlight protection for dummies". :)

Álex Montoya said:
Oh, and I love the new highlight protected ISO. I was developing all my R3D's at ISO250 with a curve which can be pretty tedious.
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This makes a lot of sense now. Probably also a source of some of the misconception that R1 was ISO250 instead of ISO320?

So I guess all the ISO curves are getting re-worked. There is probably a whole lot more to it than that though.
 
Jannard said:
Eric... good question.

When FLUT becomes available, here is my check list.

1. Set REDcolor and REDgamma
2. Check or set White Balance
3. Adjust FLUT Control (if you have not clipped RAW, you have complete brightness/mid grey adjustment without clipping).
4. The image should looks incredible at this point. Create whatever look you want from here. There are many new tools to do what you want.

The "F" in FLUT stands for "floating point".

The new color science of FLUT is more accurate than Build 20 by quite a bit.

I can't tell you all the features in the FLUT-enabled REDCINE-X but you will be surprised and happy. The scoop will be out in a few weeks.

FLUT works really well for RED ONE (Mysterium) footage. It works even better for Mysterium-X footage and there will be an in camera FLUT component to EPIC.

Hope that helps...

Jim
Click to expand...

That is brilliant. Thanks Jim, I can't wait to see it. :)

If it is possible, it would be awesome to be able to view False Color through RedCine-X. I would love to be able to evaluate an image this way after the fact - I think it would be a useful way to become more familiar with FC and judging exposure from it.
 
Jannard said:
3. Adjust FLUT Control (if you have not clipped RAW, you have complete brightness/mid grey adjustment without clipping).



Hope that helps...

Jim
Click to expand...

Jim,

Does this mean we can adjust the grey point up or down depending on the filming situation? IE: effectively change sensors latitude and the contrast according to the scene, allowing for best case midpoint grey in either tungsten lit interior, or a shift in grey point for better lattiude in brighter outdoor scenes?

Is this part of the power with the FLUT science?

David
 
Ryan E. Walters said:
.... it would be awesome to be able to view False Color through RedCine-X.... to become more familiar with FC and judging exposure from it.
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Great idea. I second that request!

False Color is particularly valuable for nailing critical exposure values such as a standard green screen setup (as part of a repeatable post pipeline). False Color is also amazing for identifying subtle flicker from HMI sources.
 
Jannard said:
Eric... good question.

When FLUT becomes available, here is my check list.

1. Set REDcolor and REDgamma
2. Check or set White Balance
3. Adjust FLUT Control (if you have not clipped RAW, you have complete brightness/mid grey adjustment without clipping).
4. The image should looks incredible at this point. Create whatever look you want from here. There are many new tools to do what you want.


Jim
Click to expand...

So, if i understand correctly, monitoring the Raw histogram (for clipping) is really our primary tool for getting proper exposure in the FLUT world and the 'FLUT control' is adjustable to taste without consequence (im oversimplifying im sure)?
 
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