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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 :)

M-X Reel

the way to show off x is with a side by side split down the middle shot..then I can see GRAIN on one and none on the other....this does not really tell me a lot as who knows what the lighting is?
 
love the shots.. can't believe how good things are looking in the low light. I need this camera in my life.
 
how we shot it

how we shot it

Tobias Straka said:
Looks great. Can you share a little information on how the metal man piece was shot in terms of lights? Did you use any additional lights or was it all practicals?
Click to expand...


this particular scene with the plasma cutter was shot after we used the camera for 4 days, so we were confident that if we set the asa to 800 and expose as we had with the r1 at 320 we would be fine.

so, when we walked into this space there were 8 banks of 6' dual fluorescent lights on. we took the bulbs out of 7 of the banks and just left one, so this whole scene was shot with 2 flourescents on a 15' ceiling in a 3,000 square foot room. the other two lights in the back and the one above him were very nominal in their effect on the lighting. the light hanging from the ceiling was on a squeezer, so not sure of the exact wattage but probably in the 20-40w range.

you have to see this in 4k to really appreciate it.

thanks for all the kind thoughts it was fun to work on but i will not lie, it was a few weeks of hard work and literally everyone worked for free including gear..so thank you everyone!

Re: talent in plasma cutting scene, that guy is the real deal, that is his shop and all those tattoo's are real as real can be...but i like the suggestion of a tattoo tie-in...can't take credit for that, the dude just happens to be all tatted up...

moreover, that scene was conceived by michael cioni and was actually just a bonus shoot from what we had planned for the 4 days we had the camera. he emailed me in the morning with the location, i brought the gear, an art director and a focus puller and we had a shot list that michael threw together and that was it...as i said above, we tried to get the room as dark as possible and we did not add any lights, just the 4 you can see.

dino
 
dino g said:
you have to see this in 4k to really appreciate it.

thanks for all the kind thoughts it was fun to work on but i will not lie, it was a few weeks of hard work and literally everyone worked for free including gear..so thank you everyone!

dino
Click to expand...

I just wanted to say thanks for all the low light tests. Honestly, it is awesome to see and it really does look good.

Can I make one request? Can you post that frame I complained about as a 4K image. I absolutely have no doubt the Moire would be gone, I just want to see the depth of detail in how it looks with that shirt and that sharpness. Given a 4K video would be overkill, this would at least let people see a frame with such fine detail at its full resolution! :)
 
Dino - great to finally meet you at the RED day. Thanks for your hard work.

Graeme
 
hey Dino,
Nice job. I'm definitely impressed with what's in that quicktime. I'm heading to RED for the 13th and hopefully will get a chance to see that as well as what ever else they've got for us.
Did you mention what lenses you guys used?
Every time I'm thinking to myself that I haven't seen anything lately from RED...usually about a week in between a big post by Jim, something like this pops up just in time.
I love seeing this. Hopefully, we'll all be seeing it from our own cameras soon.
 
lenses = master primes donated by camtec!!! thank you kavon!

and i do not have a copy of the footage from that day here on set.
 
Thank you Red for countless hours of hard work, staying up late, and continuous problem solving! This M-X reel reveals a new world of opportunities with smaller lighting packages and greater portability too!
 
GREAT reel, I am particularly excited about the Mercedes-Benz C-Class clip, as it is filmed in the shade with the oposite side of the valley in the sunlight, even though it appears to be late in the evening (and the sky as well) - all well within exposure, looks very promising for the dynamic range of this sensor, would love to learn more about it!

Looking forward to the email, our #476 is going in for the upgrade asap!
 
MX Reel 100

MX Reel 100

Hello All -
As Dino mentioned, working with the MX camera has been a very eye-opening experience. From a post production perspective, the nearly non-existent noise floor on 800, 1000 and even 2000ISO shots has been a point of constant "ooh's and ahhhs" from just about anyone who sees it. -Especially myself. I know everyone would likely agree that significantly increased sensitivity in the toe doesn't diminish the need for appropriate lighting in any way. At the same time, however, the increased sensitivity does mean the end of R3D FPN (fixed pattern noise) and the addition of 1-2 stops of overall latitude, which I know everyone is excited to get take advantage of.
There are a couple things in putting together this reel that really jumped out at me as compared to working with the Red One Mysterium.

First, when we lit Benji in his steel shop, we wanted to be aggressive with the lighting setup, as was RED's instructions. I also wanted to address what last years' CAS test "determined" was a major RED One weakness: AKA the infamous "light-bulb shot." I was present during the DI of the CAS RED grading and (as I imagine many RED Users would agree) the RED One has always done fantastic in low light! But now with the Mysterium X, the ability to capture the most incredible shadow detail is really remarkable for any camera, let alone D-cinema.

Second, it was this sensitivity that allowed me to close down the Master Prime to a T4 in many of the shots. Even when we had just the lightbulb (which was a 300watt max on a dimmer) we were never wide open. It was the only digital cinema experience I've looked through a viewfinder and seen more latitude coming off the sensor than I did the naked eye.
Thirdly, the ability to shoot at a T4 made focus pulling in the near-dark fairly easy. This improved monitoring, gave more options to lift shots in each take which had a positive affect on editing.

Plus, (and I'll need Graeme to help with this one) Ian Vertovec (the colorist) and I feel that the images are compressing better even though we're still using RC42. We feel that the lower noise floor in low-light shots makes the R3Ds easier to compress than if they had FPN and therefore results in an overall cleaner image. -Most people are familiar with very clean daylight exteriors, but I have experienced some difficulty in low-lights shots having the same qualification abilities. But with MX in the dark, qualifiers were very clean and fast - even at the same bit rate as Mysterium.

Finally, with the new color management between RedColor and RedGamma, the color separation during offline was much more pleasant to work with than I'm used to with RedSpace. This also improved the offline process a great deal. What's even more impressive is this even improved the DI process because for the first time in DI (for us at least) we were able to work in the same color space in grading as we were in offline. Because I don't recommend RedSpaceRedSpace as a DI starting point, dailies and DI rarely saw the same images. With RedColorRedGamma, we are now speaking the same language, which again, translates to a powerful, seamless handshake between offline and DI.

Take a look at the below example. This is a still of a waveform from one of the MX shots. This still was taken with the camera on and recording but all the lights in the room are off. For those post people out there, this is really a mind-blowing way to show how clean the images are right off the sensor. This shot is actually in the Reel when the screen is dark and then the car tail lights come on. You can see by the waveform that the sensor is picking up near-perfectly clean images with 0 room ambience...other than some likely atmosphere. Truly amazing to see this and even better for smooth grading and the elimination of noise reduction time/costs.

So from my post production perspective, what Mysterium X is offering looks like a story about clean blacks...but since image sensitivity is one of the first links in the chain, there are numerous points in the pipeline that all benefit from a better starting point - production and post.

All this is to say the future is very bright for R3Ds, even when the lighting is dark...


Here are some 4K stills I put on my website so everyone can leave me and the good old H.264 compression alone. You will see there is no aliasing on the shirt or the car and the blacks are intentionally resting above 0IRE so no one can claim it's being crushed. This was a creative choice used to better demonstrate the low noise floor even on the large screen projection. But as Graeme said, you know what you have to do if you really want to see these images as they were meant to be seen...

michael

4K Stills:
http://www.lightirondigital.com/LightIRON_Digital/LiDigital__MX_4K_STLLS.html
 

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Those stills are showing up as 2240x960 for me.

later,
Jason
 
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