Latitude baby...

[redman]

Should we expect the same amount of latitude out of scarlet that the red one gets. Altasens puts a 1080p sensor in one of the sumix cams and it has 11 stops of latitude(for about 2,000). I would think red could make a sensor with the same latitude. If red was able to make a scarlet sensor 1080p with 11 stops I would be so happy. Would having a 1080p sensor instead of 2k S16mm give more latitude. If so I would rather have 1080 with more latitude than 2k with less.

http://www.sumix.com/products/cameras/smx-12a2m/index.html

 

[Stephen Williams]

Should we expect the same amount of latitude out of scarlet that the red one gets. Altasens puts a 1080p sensor in one of the sumix cams and it has 11 stops of latitude(for about 2,000). I would think red could make a sensor with the same latitude. If red was 1080p with 11 stops I would be so happy. Would having a 1080p sensor instead of 2k S16mm give more latitude. If so I would rather have 1080 with more latitude than 2k with less.

http://www.sumix.com/products/cameras/smx-12a2m/index.html

Hi,

I am hoping to see 11 stops out of a new Red one next week.

Stephen

 

[Sanjin Jukic]

Scarlet is another CMOS sensor in your "pocket" for RED ONE!!!

What about "swappable sensors to emulate film choices if signal processing flexibility is never enough?"

Maybe Scarlet would bring something like a sort of "swappable sensors" technology and that could be a "pocket" size exactly what was Jim telling us here on the forum.

You have another sensor/(like a film stock) SCARLET in your "pocket" and you just have to EXCHANGE or SWAP in you RED ONE camera and then continue to shoot in a dark or whatever other lighting situation you have.

Simply is an exchangeable CMOS sensor with more latitude or a famous ISO/ASA that RED user is dreaming about.

By the way scarlet (from the Persian säqirlāt) is a red color with a hue that is somewhat toward the orange...It may also refer to the color of the blood of a living person. Scarlet is made of red and orange.>>>

>>>LINK>>>

Also don't forget that RED is a modular design digital camera.

The new Scarlet "swappable sensor" module would cost you between US $ 5.000-15.000?!

I will make a new tread out of it now>>>

Scarlet is another CMOS sensor in your "pocket" for RED ONE >>>LINK>>>

 

[Gavin Greenwalt]

Considering how much R&D money RED has put into the REDOne I expect it'll have the exact same sensor... just in a different dimension, or comprised of reject chips from the REDOne.

 

[Darren Orange]

I thought the first cameras not the X cameras where able to produce 11.3 stops and film has depending up to 13+- a bit. I wonder what the cameras are doing now. If Update 14 would push red over 12 stops that would be awesome.

 

[J. Bernard Vallon]

you can't get more than 12 stops DR out of a camera with a 12 bit a/d converter.

 

[redman]

I thought the first cameras not the X cameras where able to produce 11.3 stops and film has depending up to 13+- a bit. I wonder what the cameras are doing now. If Update 14 would push red over 12 stops that would be awesome.






On kodaks fact page, it says film has an unmatched 20 stops of dynamic range.

 

[Chris Nuzzaco]

you can't get more than 12 stops DR out of a camera with a 12 bit a/d converter.

I second this...

Also, a funny thing that is seldom mentioned is USABLE range. Have you looked at what a 12 or 9.5 stop linear image looks like (with proper monitor gamma adjustments of course) without any correction done to it? Its always pretty milky and washed out looking. By the time you add some contrast into it, you've effectively lost some range. Also, most DP's don't use the very lowest end of any formats range, its usually too noisy, even with film, some DP's just don't find the grain all that attractive 13 stops under the highlights. You also have to factor in the highlight end of the cameras range. If you want a smoothly rolling highlight fall off, you will loose a little bit of range in order to create that. So yes, you can have 12 stops of range (if the sensor can physically do it) in a 12 bit file, but how much is usable is a bit subjective. Until I get my hands on a Red and do my own tests, I can't say. Also, it helps to render out to higher bit depth files than what you captured at. Those extra "digits" can make a big difference when you push the images data around. Its like padding. I shoot 10 bit RAW all the time, but I process using 16 bit uncompressed tiff image file sequences...

Hope that helps!

 

[Chris Nuzzaco]

On kodaks fact page, it says film has an unmatched 20 stops of dynamic range.

But how much of that lower end range is very pretty looking....?

 

[Warren Kommers]

Hi,

I am hoping to see 11 stops out of a new Red one next week.

Stephen

Let's hope so.

 

[JustMe]

Considering how much R&D money RED has put into the REDOne I expect it'll have the exact same sensor... just in a different dimension, or comprised of reject chips from the REDOne.

I expect bad wafers but can you use bad image wafers for sub par product..

Wait Intel does it with CPU's

 

[Stephen Williams]

I thought the first cameras not the X cameras where able to produce 11.3 stops and film has depending up to 13+- a bit. I wonder what the cameras are doing now. If Update 14 would push red over 12 stops that would be awesome.

Hi,

I don't think anybody outside the RED lab has seen the 11.3 stops Frankie produced. I have however been shown a graph.

Stephen