NEW YORK + EPIC

[James Burgess]

There's no doubt about it, I am having a difficult time waiting for stage three
to begin. Love to grade these R3D files.

 

[Adrian T.]

 

[Omar Al-Masab]

Jarred what red code did you shoot the first one with ?

 

[Tico Llaurador]

Love playing with these R3D files. Epic and REDcode rock. Thanks, Jarred!

 

[Richard ndumu]

i won't lie, i don't understand easyHDR, red raw, is very impressive

 

[Alan Rosenfeld]

Very nice work, Jarred. Derek had mentioned you were in town with an Epic.

 

[Jarred Land]

Wow. Gorgeous shots, Jarred! As of a year ago, I had no idea that Jim was a top-notch photog, and shot the Oakley stuff himself, and now this stuff; I wouldn't be surprised to see these in Vogue next to some Karl Lagerfeld shots.

Ace, love your take on it

Thanks Joshua. Yes indeed, Jim shot the first 20 years of Oakley all by himself.. When it comes to shooting, Jim taught me 90% of everything I know. The other 10% is pure unadulterated luck.

 

[Michael Panfeld]

The 4th shot is stunning. Look at the model's mid-section (and not for the obvious reasons, which are hard to ignore). That's a pretty small area within the entire frame, yet there are lows, high, and mids all together. Notice that the different tonal qualities in this area blend very smoothly. There is no chop, no hard edges. Yet it still has lots of detail. I like the area where the curve of her abdomen approaches the top of the hose. Smooth with lots of nuanced tones!

OK, now look at it again, for the obvious reasons.

 

[Tim Hole]

This is beautiful, Tim. I'd love to know the manipulations used.

Thanks. Was pretty simple use of curves, a matted bloom effect with shadows and highlights (similar to a telecine scan pass) and mist filter, I added a gradient from right to left (to deepen the right side of frame and her point of interest - add some mystery) and then some power windows over her upper cheek bone and lower jaw to excentuate Jarred's lovely modelling on the face. Don't remember doing much else other than that. Was pretty brief and quick job.

The fact that it was so quick and easy to work with, getting pleasing results is very much down to the asset to work with, Jarred's beautiful lighting/exposure allows for both faint manipulation or heaving grading as others have shown. Testament to the abilities of the camera and the capabilities of the artist wielding the tools.

Cheers

 

[Ryan Fitzgerald]

gorgeous

gorgeous

Thanks for posting these amazing shots and handing off an r3d. Can't wait for Epic-S, one I can afford... almost.

 

[Johnny Zhang]

Thank you for sharing! :smile5:
here's my try:

 

[Brian Smith]

 

[Vishal Prabhakar]

Here is the second grade...

I am loving it. PLEASE put more shots.

 

[Carl Rytterfalk]

Everyone seems to have a go.. My turn..
I also noticed that this shot is really soft (bayern soft) when getting closer - At 1/2 resolution you cant find single pixels - much worse at 1/1. Looks great at 1/4. I so wish that this camera would have a foveon type sensor instead! That would be AWESOME!

 

[Graeme Nattress]

Everyone seems to have a go.. My turn..
I also noticed that this shot is really soft (bayern soft) when getting closer - At 1/2 resolution you cant find single pixels - much worse at 1/1. Looks great at 1/4. I so wish that this camera would have a foveon type sensor instead! That would be AWESOME!

Well, no it wouldn't. Foveons need heavy NR on their chroma, they have poor colorimetry and don't have good low light, and are not fast enough to get a high resolution at a high fps. Not to mention the single pixel effect you like is just pure aliasing, and those pixels don't actually represent image detail, but false detail. Sorry. We've had this discussion here before.

Graeme

 

[Steve Wake]

[...] Not to mention the single pixel effect you like is just pure aliasing, and those pixels don't actually represent image detail, but false detail. Sorry. We've had this discussion here before.

Graeme

+1

We perceive a beautiful, smooth (not blurry) analog world. Why anyone would want to perceive it as a cyborg would is beyond me.

I find the resemblance between the model at this angle and #6 from Battlestar Galactica ironic. A Cylon in Luddite pose. Like RED smashing old tech to recover the lost beauty of the analog world that film captured.

OTOH I really like Rytterfalk's grade. The white knuckles really bring out the anger and determination.

[Disclaimer - yes, I know a quantum universe underlies all we perceive, but we're operating within the limits of our perception when we view cinema.]

 

[Roberto Lequeux]

Well said Steve!

Add to that well over 4k resolved detail in 2k times and there is no arguments, at all.

And I agree that that is a nice grade Rytter. I would also try intensifying the red glow on the right (0.02).
(BTW, you need to use your real name to post Rytter)

 

[Robin Balas]

Well, no it wouldn't. Foveons need heavy NR on their chroma, they have poor colorimetry and don't have good low light, and are not fast enough to get a high resolution at a high fps. Not to mention the single pixel effect you like is just pure aliasing, and those pixels don't actually represent image detail, but false detail. Sorry. We've had this discussion here before.

Graeme

Well, you should be aware of the difference in preference between stills-photographers and moving image shooters. As a stills photographer I can live with certain types of aliasing as long as it looks good. The parts which doesn't look good, I can afford to retouch away as I am working on a single static frame, not minutes of footage.
I guess you will hear more on this in the future as ignorant stills-photogs get their hands on EPIC cameras in the future not realizing what it all is about (not that Rytterfalk is ignorant in any way, I do not know him).

Professional clients and photographers have noticed that this pixel-sharpness is more or less lost in reproduction even onto large posters, so most have stopped worrying on that and focusing instead on what really matters. But pixel peeping is a popular hobby for many so this topic is not likely to go away easy.

My mentor though me to always step back and admire the whole and the content of the image - not the grains from the emulsion as it held little artistic merit in itself. I do believe he was and is correct in that statement.
MHO.

 

[Nils Ruinet]

Also, keep in mind that these pictures have not been sharpened at all. If you want that "over-sharpened" look, you can always get it later in Photoshop.

 

[Matt Coats]

I took a quick run with that image from a retouching POV. Really amazed with how much there is to work with. The R1 was "okay" to pull stills from, but to get a high end polished image you needed a genius behind the retouching on it. The EPIC file is pretty nuts. I am not means a high end retoucher, but I know my way around well enough. This image was taken directly from RCX with straight meta data, into a Tiff.

Converted to 8bit, and 300dpi (would LOVE this to be default processing for stills btw.)

bigger one - http://img529.imageshack.us/i/b004c01001232h.jpg/