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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 :)

OFFHOLLYWOOD shoots MX ISO 1600

Jon Sagud said:
So nice to see work when it's done right. Nice job, Mark & crew. M-X looks awesome.
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Love the compliments ... but really ... this was just "point and shoot".

It's amazing to have a high resolution digital cinema camera .... done right.

I so amazed at what Team Red has done in such a short period of time and I feel so lucky to be on the wild ride.

Bring on the 28K!
 
Craig W. Bickerstaff said:
Is there something wrong with the prores codec that causes banding? What's the deal here?
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If you are seeing banding... my bet is that the culprit is H.264 as Mark suggested.

Jim
 
ProRes 422 and variants thereof work at 10-bit precision. The H.264 spec offers profiles similar to or better than it (e.g. High 4:4:4 Intra Profile), but the reason you see banding is the delivery profile that H.264 usually takes: MP or HiP with 8-bit sample depth and 4:2:0 chroma subsampling. Depending on how you go from 10-bit to 8-bit can result in visible banding artifacts (usually by rounding). It also doesn't help that Apple's QuickTime H.264 codec is junk.
 
More footage coming Monday. One of our colorists & techs took an MX out to shoot a spec music video for test footage - all ext. from sunrise to sunset today - should be good stuff. Stay tuned.
 
Banding (posterization) generally occurs when there's not enough noise in the image to effectively dither the gradients into behaving nicely.

Due to it being a nice wavelet codec, REDCODE doesn't produce banding artifacts. To be precise, we've tested it under extreme circumstances and investigated it thoroughly and never seen actual banding in the R3D itself.

ProRes is also a lossy codec, and even though it's 10bit, if the lossy aspect of it removes dither-like noise, it could lead to some banding. However, the major culprit is h264 which in even it's best implementation will generally show banding as even when it's at it's lowest levels of compression it's practically impossible for it to not remove any added dither or any dither-like noise. And once that noise or dither is gone, 8bit will band. And even if the h264 was higher bit depth, it would still band once that dither or noise is gone.

Graeme
 
Are others also not able to download this? I have fast broadband, but I repeatedly get this:

Bandwidth Limit Exceeded

The server is temporarily unable to service your request due to the site owner reaching his/her bandwidth limit. Please try again later.

I have been trying again later! Many times, but no joy! Is this clip available anywhere else? Many thanks!!
 
I love it! kudos.

is there any chance we could see some 1600 ISO footage with the old 18-50 RED zoom lenses? would be curious to see what those images would look like...
 
Wow, the station lights bouncing off of that subway car were almost enough to fill the face on the platform... cool!
 
That was very impressive. It's nice to see "night for night" footage. It reminds you how bad "day for night" really looks.
 
Mark

have you had an opportunity to do any slow shutter night photography at all? I'm curious to see how a half second exposure looks on the new sensor.

Also. What build is this being captured on?

Many thanks for sharing your enthusiasm.
 
Just finished downloading that footage and although I haven't been to New York at night in a little while I really don't remember it being that light at night. Better than the human eye? Certainly less noisy than mine!
 
I will do flash bulb and long exposure tests soon.
 
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