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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 :)

"Magic Motion"...

More good news! Thanks for keeping us up to date - it helps a lot in the waiting, RED is a big factor in my life these days, and it seems like it will stay that way - and I love it!
 
Jim can you please tell us if we will we need a SSD to take advantage of HDRx.
I don't mind paying an extra 1,000. But I would love to see a RED SSD + Module +1.8" Reader offered as a package. Especially on the Fixed Scarlet, instead of the CF module, or like the 5" monitor as something we can upgrade to at a reasonable price.
Thanks again and btw I think that offering HDRx on the Scarlet was the absolute right decision.

Regards
 
Joseph Hutson said:
Hopefully the 2nd Annual RED Day in February at RED Hollywood Studios... :thumbup1:
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Well, I hope that reel has some shark footage shot on my sn206 (or whatever place in line stage 2 off of sn206 is) epic-x! :-)
 
Gavin Greenwalt said:
Not really. It's relatively easy to be distracted by the quantity of and diminutive size of the lights in the vegas scene.

Demanding would be something like a close up of a fire dancer or someone running in front of a blown out window.

Whip pans across the sky would be another pretty demanding scenario, or an explosion. Something where the overbrights dominate a good portion of the scene, there is lots of eratic unpredictable motion in the overbrights and parallax.
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Since I was at Fremont Street this summer, I would have to disagree. Capturing full shadow details, and at the tail end of the shot still being able to resolve the filaments in the closest marquee lights qualifies as pretty demanding to me.
 
Mohammed El Sharqawy said:
they are both breakthroughs in the same way.. I don't think that HDRx™™ have more importance than REDCODE.. they both allows you to capture higher dynamic range footage than linear recording.. REDCODE is the thing without it we won't ever see these kinds of cameras.. HDRx™™ is more improved technology depending on REDCODE that allows you to capture more DR, HDRx™™ can't be there if REDCODE isn't..
HDRx™™ has more different implemtation of reading sensor data (we still don't know how) and processing this data through REDCODE..
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Then I think you haven't gotten your head around what HDRx™ really is. As great as it is, redcode is "just" :) a form of compression. HDRx™ not only gives us the dynamic range of film (big in itself), it also gives us that extra "fast shutter" frame - something not really feasible with film - which gives us the magic motion AND great capabilities in VFX and possibly super precision 3D optical flow analysis.

PS please note the quotes AND smiley with the "just".
 
Mark L. Pederson said:
Well ... I'd argue you only want to shoot HDRx™ when you need to - and the camera should be able to tell you that obviously - but maybe you just also shoot HDRx™ for Magic Motion on high contrast pans, etc. - time and testing will tell.
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Wanna see Magic Motion on some ordinary people shots. Please please please please.
 
Thanks Jim for all that efforts with the latest development

and I know you always tried to get those things as best as possible!

Also as best one can!!!
 
This is HOT:

"you can ignore the "x" frame stream and have normal mode even after you have shot"
 
This is great news. Thanks for all you have done.

I think if you can shoot hand held in a car that is moving and whip through from outside to interior, something like that would be the ultimate test for me..
 
Jannard said:
The cautious side of me thinks we may run into an exception somewhere (haven't seen it yet)... good news is that if that does happen, you can ignore the "x" frame stream and have normal mode even after you have shot.

Jim
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Have you tried some vertical pans?
 
Jannard said:
The cautious side of me thinks we may run into an exception somewhere (haven't seen it yet)...
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Have also thought of the same question, as it's a big difference between something that works in all cases and in many cases.

What has come into my mind is a semitransparent periodically moving object when the light comes almost from the front, such as a wing of a flying bird lit by the sun upfront from the camera. One could test such a case with a pendulum big enough which has a piece of striped bedsheet in the swinging end such that the sheet is clearly "pierced" by the light. This could be tested with a stationary camera as well as with a panning camera.
 
I wasn't exactly fired, but I wasn't asked back after I told an insane director that it was imposable for me to "Pan down" when doing a steadicam shot. Why not just call a sandwich an iguana?
 
I was once asked to do a "stationary track" of the people walking by. After a little debate I was explained it meant do not move the camera, let them walk by it.
 
Nick Gardner said:
I wasn't exactly fired, but I wasn't asked back after I told an insane director that it was imposable for me to "Pan down" when doing a steadicam shot. Why not just call a sandwich an iguana?
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In the director's defense. Even though I know why that comment isn't correct-- if you honestly understood what he wanted and didn't do it because he asked wrong I wouldn't rehire you either. There are enough things to worry about on set than to have to bicker with a camera operator being a douche bag.
 
Motion sensor > metadata > Redcine > Magic Motion value
 
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