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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

I guess it´s a personal taste issue. The red one colours still look "electronic". But canon does the same thing and no one seems seems to complain too much. Other cameras " seem to render colours in a more "natural" way, closer to what film stock does (ie: F35).

Different tastes for different people.
 
Do you mean with the mids being too rich? Cause if so you just apply a curve. What do you mean Miguel?

About the 18mm. There is some vignetting in the top corners in a few of those shots. Was that applied in post? Surely the RPP doesn't vignette on M-X, right?
 
Roberto Lequeux said:
Do you mean with the mids being too rich? Cause if so you just apply a curve. What do you mean Miguel?

About the 18mm. There is some vignetting in the top corners in a few of those shots. Was that applied in post? Surely the RPP doesn't vignette on M-X, right?
Click to expand...

where do you see vignetting???

and the whole reel was not shot with the 18mm.

the camera we used has the same exact SIZE chip as the R1, it is just the new chip, MX, so every lens that works with the R1, works with the R1MX.

please screen capture this so called vignetting...and we shot with master primes in the USA. we wanted to be a bit objective and not make it all about RED. master primes are what the top DP's in the world use, because their jobs can afford them. so we went for those.
 
Michael Cioni said:
As for grading, Gavin- these images are pre-processed with gamma correction - so they no longer hold the dynamic range of the source R3Ds by any means. Using these files to evaluate in grading is not a good idea and will not show you the results that you get from the RAW files where they came from. These images are a full debayer and can show how clean the noise floor is demonstrate that there is no aliasing in the shirt or the car. that is the only intent I have in sharing these images.
Make sense?
m
Click to expand...

Michael,
Any chance you can post tiffs without gamma correction?

Also was there anything in your mattebox during those tungsten scenes? Were those bulbs on hand squeezers?

IBloom
 
Yes, MPs, but 18mm RPP for (some of?) the aerials.

MichaelHalsell said:
The RPP 18mm saw action on the aerial shot. Nice bonus!
Click to expand...

I see it in the top corners at 1:17 and 1:26.

It looks too low to be the image circle, so I suppose it had to be a choice to bring down the sky in post.
 

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we did not do europe, can't speak for that footage and why they chose the wrong matte box or it may also be the sides of the helicopter doors as they seemed to have been shooting outside the window and not on a nose mount.
 
dino g said:
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.
Click to expand...

Very impressive. Thanks for the feedback.
 
Once I wiped the dust off my screen, I realized the darker still images have - no discernable noise! I opened the levels in PS and cranked the slider to the left, and suddenly the entire room appeared. Incredible.

I think the H.264 might have a little more gamma than intended, looking at this still, if it represents a graded grab from the final edit.
 
This is how I would sent color correction references from on-set to colorist.

Also be aware that my grades are based on those already graded images that Michael Cioni posted link here.

This fast grade is done on 3cP/3.0/st and 3cP/4 Demo, based on profile Camera Stock Kodak 5219 Vision 3 500T and Print Stock Kodak 2383 Vision Color Print.

M-X_01.jpg

Split screen.

M-X_02.jpg

Final grade reference.

M-X_03.jpg

Split screen.

M-X_04.jpg

Final grade reference.

M-X_05.jpg

Split screen.

M-X_06.jpg

Final grade reference.
 
Roberto Lequeux said:
Yes, MPs, but 18mm RPP for (some of?) the aerials.
Click to expand...

From 'European M-X shoot behind the scenes pics' -thread:
Jonathan Smiles said:
In the air with HFS's helicopter. Camera mounted in a Wescam with an
Angenieux 25-250 HR zoom .
http://www.helicopterfilm.tv/

We shot on the ground using a Pursuit Systems Volkswagen V10 Touareg
pursuit crane. Camera on a Stab C mount with the 18mm RED Pro
Prime.
http://www.pursuit-europe.com/
Click to expand...

So the frames you posted are probably shot with Angenieux 25-250 HR zoom.
 
Wow, really great stuff!

Can't wait to get the Scarlet Fixed. Even if I can't get the same results as that I will still be incredibly pleased with it I'm sure. This is gonna be a phenomenal upgrade from my current camera - a consumer Sony HDR-SR12...
 
I love all but if i would have to pick the one I like the most. I would pic the car driving in the snow! We got the snow here...only missing a Scarlet. Dont forget to blog alot on redday!
 
re-wow!

can´t wait for my batch
 
grading in DI

grading in DI

Michael Cioni said:
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.
Click to expand...

Michael:
can you say more about this?

- this might be subjective, but what did you personally find was "more pleasant" to work with? Are you talking technically (fewer steps to get a good grade) or performance (you can get color you couldn't get before) or creatively (it just "looks better to you")...???

-when you say "we were able to work in the same color space in grading as we were in offline", is that technically (it wasn't physically possible) or creatively (you got results you liked better starting some other colorspace/gamma setup than RedSpaceRedSpace)?

Thanks tons for this. I'm just up La Cienega and would love to come see this 4K IRL.

Best, Eric Trageser
------------------------
Eric Trageser
Los Angeles
www.erictrageser.com
 
18,000+ plus views in a day and a half, wow glad everyone liked it, too bad some of the discussion got derailed, perhaps there should be another 7D, 5D, 35mm Adapter thread and this one can still be about the MX Sensor and the MX Reel.

make sure to come to red day to see it in 4K.


dino
 
Sorry about that, got started from the Moire questions. Any further discussion on that will be elsewhere! People tangent easy!

Again, thanks for putting this together. The low light performance is something a lot of people are looking forward to. The MX sensor seems to really shine.
 
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