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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 :)

More HDRx...

Jannard said:
This was shot with Peter Lik and Mick Plumridge in a ghost town near Las Vegas over the weekend. Both said "impossible" when we went into the barn. It was wicked dark in there and blistering noon desert-sun outside. They both fell over dead when they saw this. I called 911. They are OK now... :-)

Jim
Click to expand...

That is incredible.
 
I was firmly in the "Don't add it to Scarlet for $1,000 more" party, now, I am a changed man.
Now if I could just get on the secret mailing list that lets insiders know when it will be out... I could sell the RED1 a week before the bottom of the market drops out.
 
Just saw the clip. DR wise it is great. But I want to know if others also witnessed some strobbing in the pan? Is that magic motion, whatever it is, doing it? Or may be my QT player?

Joofa
 
Dj Joofa said:
Just saw the clip. DR wise it is great. But I want to know if others also witnessed some strobbing in the pan? Is that magic motion, whatever it is, doing it? Or may be my QT player?

Joofa
Click to expand...

I don't see it in QuickTime, but I see it if I let it play in my browser.
It's definitely not in the file.

And BTW, my reaction to the shot was "WTF, WOW" followed by a little bit of drool because I didn't realize my mouth was open for a while...
 
Jannard said:
We didn't take a meter with us... ugh.

But it didn't take a rocket scientist to see that there was no way to hold the exposure inside and out. Peter has been shooting for almost as long as I have. Mick about half as long. There was no way to hold both inside and out with any camera that we have ever shot. This was a DARK barn and brilliant noon-day sun outside.

I told the guys that no one would believe this...

Jim
Click to expand...

Someone suggested a comparison with a 5D (for fun, I know).
It looks like this all reached a point where if there were a need to have a side by side comparison, that would be with film, not with any other digital medium ;-)

Could a film camera shoot this?
Could such camera hold the exposure inside and out?
Like for Fincher's shot in the dark only lit by a match, I tend to doubt it.
 
Film making, film or digital, has limitations like anything that tries to replicate human sensory processes. One of them, plaguing both digital and chemical mediums, is the need to adjust exposure through a shot to prevent highlight blowouts or shadow black outs. And even the most experienced AC's cannot really rack iris in natural enough way when moving from very dark to very lit, or vice versa, locations.
There's always a lag, or an anticipation, that either temporarily darkens or lightens the scene too much, even if for a few frames. Digital is bad at it, film much better, but both do it. Or did it. This is truly amazing. Imagine moving back and forth from indoors to outdoors, or panning across the well lit windows in an otherwise shady room, without having to close down your iris. Tilting the camera up to the sky without concern. Or being able to do amazing steadicam takes that rely on constant focus because the aperture that gives you that focus does not need to be changed. Or in my medium of choice, underwater, where in most shots, you have crushed shadows in the reef and rocks at the bottom of the picture and blown highlights coming from the sun piercing the surface on the top part of the image. And for those of you that never did it, adjusting iris underwater is much more difficult and potentially disastrous, because you depend on small monitors looked at though thick acrylic plates to make the decision as to when to open or close the iris. Not anymore. However better this technology gets, it already looks revolutionary in so many ways: more dynamic range, smoother motion blur, less requirements in lighting, being able to expose for the shadows and perform complete takes without racking exposure. This is truly amazing!
 
And there is still detail in the front and centre barrel and basin! Understanding full well the lighting conditions, the color rendering of the deepest shadow areas is astonishing, meaty. Too much for words on Oct 5th 2010.

Looking forward to putting it all to good use. ( :
 
HDRx™ is pretty amazing...

Outside looked a little washed out, so I played around with it in Photoshop...

5xn0y0.jpg
 
This is quite incredible, and like many who voted against including it in the Scarlet I am very glad to have lost now that I can see what it can do.

The one flaw I see is that there is some chromatic aberration in the darker parts. Given that this was taken by an RPZ I assume that this is not a normally problem on this lens. I wonder whether using HDR mode magnifies this issue (by letting us see far deeper into the shadows, where CA wouldn't normally be visible). Not trying to be a downer though, as a tradeoff it is totally worth while!

I also wonder how cutting between magic motion and stuff shot with the normal shutter would look.
 
Yeah..... now thats what I call a game changer ! I cant imagine shooting from inside a dark Barn/Stable into the mid-day sun and maintaining such detail. No other camera I know of could maintain such detail in the highlights without compromising the shadows.
Wow !!!
 
Jeremy, the whole point was to show us what we can get before we begin to "play around" with it. Just trying to avoid another Green Screen calamity.
 
Jannard said:
You will see for yourself soon.

Jim
Click to expand...

I'm gonna hold you to that.

Mark,

future owner of 2 Epic S35s, (or more) at least 1 Epic 645, as many Scarlets as Red will let me have and probably every accessory available in duplicate. I love this stuff.
 
This is a blessing. No more ungodly amounts of fill when shooting car interiors on bright sunny days... meaning no more inverters, battery belts, time intensive rigging, uber bright HMI's blinding everyone in the car. I can already see how this feature will save so much time and money, and will deliver natural looking representations in that situation. Car interior work just became infinitely less of pain.

Many thanks guys.
 
Michael Hardwick said:
This is a blessing. No more ungodly amounts of fill when shooting car interiors on bright sunny days... meaning no more inverters, battery belts, time intensive rigging, uber bright HMI's blinding everyone in the car. I can already see how this feature will save so much time and money, and will deliver natural looking representations in that situation. Car interior work just became infinitely less of pain.

Many thanks guys.
Click to expand...

Yeah, car interiors are gonna be so much easier! And no more having to put big sheets of ND on windows for interior shots where you need to be able to see out the windows, and God knows what else.

Boy, they sure could've used this for the whole Fenway Park heist sequence in The Town.
 
Wow!!!! Ahh!!!

Jim, you have done it all over again. This absolutely unbelievable. I'm so glad I signed up for this Red train :-)

And thank you for your definition of "professional", I definitely fit the bill.
 
Barend Onneweer said:
I think I understand what I'm seeing here, but just for fun it would be 'eductional' to see a 5D video frame for comparison next time. You know, just for a good laugh...
Click to expand...

How about a 5D still frame? ;). Still couldn't get anywhere near this in camera.
 
Astonishing...
 
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