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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 :)

Peter Jackson clips and grabs...

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Sounds excellent! Too bad there are no 4k (or even 2k) digital cinemas anywhere close to where I live (Goteborg, Sweden). Haven't heard of any DCI-compliant theaters at all in Sweden actually :(
 
I'm guessing a degrain and then a re-sharpen in Pablo. Yes there is mild bokeh in the bg trees but then the edge of the hills indicate re-sharpening. Picky picky - geeeezzzee.
 
its speculation but my guess is the pablo has done it, weve seen redcode stills before and they look nothing like what we're seeing here.. it looks like a noise reduction filter, which in all honesty, you might not notice at 24fps. persistance of vision and all that...

im very happy with the color and highlight handling from what ive seen
 
To be fair- I believe the milk-girl shot is focused right on the eye or close to it. The biplane shot is focused on the biplane and the background is out of focus, so you don't expect to see distinct detail. One person was suggesting a lens Bokeh effect, and maybe that's part of it.

edit: I should also add I'm just commenting on this type of detail out of technical interest. The stills are obviously very good quality, and they're certainly miles above anything produced by any motion picture camera I have operated to date.
 
Agreed

Agreed

Graeme Nattress said:
Remember REDCODE had it's first time turn on with these cameras, and it completely un-tweaked, and that can make the world of difference. As I pointed out to people at NAB who saw the movie - "That's the worst redcode will ever look", and quite frankly projected at 4k and running at 24p, it looked amazing.
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Agreed, the material looked incredibly stunning projected, and for my usage (most likely finishing at 2K/HD resolutions) even these frames look absolutely fabulous.

Would be cool to find out what happened to that frame, and where in the process (and to have some "as-raw-as-possible" TIFF files to play with would be awesome). The wide establishing shots are the ones I'd most like to play with in full resolution and uncorrected, I think.

I tend to agree that there has been some recomposition and definitely some filtering on the plane frame (median or other noise reduction) in the Pablo. In the short film, many of the frames clearly went through some compositing system, for example to generate the rather odd-looking digital shell-shock camera shake. I would be loathe to think that the guys at Park would have screwed this up somehow.

Also I find it interesting how the highlights blow out towards that digital salmon pink I hate so much -- definitely an area to explore and recover with the Highlight magic you showed within RedCine.

Oh, and if you could post some George Bush files that would rock also (since they had a colour chart).

--The Real Rune (not the Desert Rune)
 
I have dual 23" cinema displays and I was STILL panning around the 4k image! :w00t:

Makes you realize how badly we need 4k displays...
 
agreed, scale these down to 2K and they look stunning! A 1080p quicktime would look great.

Perhaps that's half the problem, if these were monitored at 2K through the process then this NR would have gone unoticed in the pipeline, and its not like they had the time to go back and check....

But I am curious to know like others at what point in the chain it occured.
 
rune said:
Also I find it interesting how the highlights blow out towards that digital salmon pink I hate so much -- definitely an area to explore and recover with the Highlight magic you showed within RedCine.
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There were only two things that bothered me about the footage when I saw it projected in 4K, and this was one of them (the other was the fixed pattern noise that only showed up in a few shots which Jim assured me was an issue of the footage being vastly underexposed). I assumed that the tendency toward "salmon" (it looked almost orange to me on the projection) was a result of intense color grading and not a side-effect of the footage being digital, but who knows. I think it could be dealt with, at any rate. I agree with the users who would like to see some of the stuff non-color corrected, as I feel that they may have overdone it in some shots (and it would also help to determine if some of the unwanted artifacts are a result of the post process as opposed to being in the footage originally itself).
 
rune said:
The Real Rune (not the Desert Rune)
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Sorry about the similar username. I only discovered reduser.net a couple days ago, after hearing about Red at NAB.

ps. Desert Rune is an anagram of Reduser.net
 
I magnified a part of the shot 200% without anti-aliasing, to take a closer look at the pixels.

This part of the tail of the plane shows a sort of smart-blurring above a certain treshold, so we'll see sharp and noisy stuff around the wires and more blurry surfaces along over the tailwing, with some sharp spots here and there where some noise appearantly surfaced above the treshold level.

I am positive this is done in grading, and it perhaps indicates this shot was quite noisy originally, maybe it was accidentally underexposed 2 stops, who knows?
I do believe however that it is very important for Red and the Redusers to make a quick end to all speculation about the cause of these artifacts, or certain people will be more than happy to use this as an 'evidence' to prove why the Red One stinks.
 
We have all seen trailers on the net. We know that Lord of the Rings was shot using film to the highest standards, we know that Spiderman was shot using the best talent possible. We know that trailers are a lower res version of thier high end counterpart. I think we all just want to see how the footage compares to all the rest. We know it's not going to be the best it can be, but it's in the same boat as the others.
 
I like my Red footage like I like my women, teasers.

In other words, I'd agree with a few other people on the advice of pulling the stills until everythings flushed out.

Red users understand the reasoning for the anomalies on the stills, potential customers and competition won't, and those competitors will stab at it every chance they get....
 
Alexander Nikishin said:
Red users understand the reasoning for the anomalies on the stills, potential customers and competition won't, and those competitors will stab at it every chance they get....
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I absolutely agree with that. Please take the JPGs offline until we know what exactly happened (e.g. we applied the posterizing filter because it makes the images look better on the Sony 4K projector or something).
 
Graeme Nattress said:
[Snip] "That's the worst redcode will ever look", and quite frankly projected at 4k and running at 24p, it looked amazing.

Graeme
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Hi Graeme,

Thanks for putting the two thoughts that have been running in my head as I read the reaction to the frame grabs. I think what we should be keeping in mind--and not just as a background information in our head--is that these images were grabbed from a short film that was intended to be projected as motion pictures. I'm sure if Peter Jackson or the Red Team were using the Red One as a still Camera to grab images, they would have gone the uncompressed raw route.

Although I have not yet ordered the Red One (perhaps this might explain my lack of worries:mellow:) I will be getting one in a little over a year and half, once I finally finalize my commitment to a project in my current line of work.

My point here is not to discourage critical analysis. I'm simply stating that looking at these particular screen grabs as if they were shot on a DSLR isn't going to be useful. Again, for that sort of analysis, we will have to get uncompressed raw captures. Until then, those of us who didn't attend the NAB might have to settle for reports from those who saw the projection and reacted to it here and elsewhere. And from what I've read so far, especially the discussion list at CML-2k-444, where the Red One had been initially been received with skepticism, the reaction has been very favorable.

The Red Team took on a gargantuan challenge and has created an amazing cinematic tool. Like the many members of this forum who believed in the project, I am as excited about this camera as I used to be when I first started following it development on dvxuser.com.

Mike
 
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