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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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I am ALMOST at a loss for words, "horrrrible" we must be in different realities. There is some funkiness but horrible is a huge leap. They look awesome on my screen at 100% in PS. If you where looking at moving footage I don't think you would see anything wrong. I took the images, printed them on my epson 9800 at 100% size and showed them to a couple of AD clients, told them they where screen grabs and they did not believe me ! They look awesome.
Aloha
-A
 
Somebody commented on the pink falloff towards overexposure... that's not the camera, that's grading... at least I think. I believe they graded the skies pink to give the film an early-morning look.

Somebody also made a point about the splotchy bökeh... stating that it could come from the lens. Below is an image of mine from a 20D through... something at 300mm. I don't remember the glass. It's no S4, but you get the picture. Some of this can be blamed on the lens. I should note that the JPG is 100% quality.
bokeh.jpg


Remember, I don't actually know these things, this is just speculation.
 
I agree with smokestack, there is wonkiness going on but it's not the JPEG compression. It looks like what would happen if you over compress something with JPEG2k.

There's 2k worth of good image in there. I can't stand the look of it at 1:1, I feel like I'm looking at the image through an old runny window and I just know that would boil on a matte.

I'm perfectly willing to believe that it was a result of over post, or a poor export. But as is I'm not impressed with the compression.
 
Don't worry too much about the compression. That was just Boris and Natasha straight out of the bag, so to speak and we're doing a lot of work in that area. For instance, some of the stuff in the compressed raw pathway wasn't turned on in camera (as you know, we only had a minimum featureset enabled). Once we get the rest turned on, and tweaked into place for where there are differences between Frankie and the production cameras, we'll all be in a better place to judge compression. Until then, enjoy the images as early test images, on an alpha camera, that made a pretty fun movie.

Graeme
 
Would it be possible to get that large biplane image exported directly from Redcode to EXR for 32bit inspection in after effects?

Cheers,
Pete
 
We are showing frame grabs from a test shoot of Alpha prototypes. Unless you know all the facts, amount of exposure correction in post, pipeline of post to delivery here... speculation can be dangerous. We are posting all along the path of development. If anyone gets too worked up about any imperfection, we might just be better off holding for clips and grabs from a finished camera.

Jim
 
Jim,

I think you and the Red team are doing great. I've said this before, and I'll say it again, those alpha cam frame grabs look better than any frame grabs I've seen from other pro HD formats to date. Keep up the great work, can't wait to use the finished cam!
 
Jim,

Those images are just whetting our appetite for more. I think people may be picking at them because the images look too good to be true. I'm sure the final shipping cameras and redcode will make imagery that looks even better than what we see today.

Congrats,
Pete
 
Looks fuckin' great to me.
 
Awesome guys just wanted to say great work again. Everyone needs to see this in 4K it will take your breath away. and for cameras that just had run/stop basicly that is an amazing picture. a fantastic place to start good work guys.
 
everyone needs to take a breath and remind themselves that this is prototype footage.. there is things that will not be 100%, it was the purpose of the test shoot to find those things so we can fix them.

Its a tough decision to open this test footage up to you guys, and if it keeps getting critiqued for what its supposed to be, that decision is gonna start going the other way.
 
This is the problem with 100% viewing. No matter what the original capture size or sensor/lens combo everything is at it's limit at 100%. So all the things we will never see in a moving, projected image are set out there to be torn apart by the mesurebaters. Sometimes that's necessary, but remember that 35mm film is essentially a half frame of 35mm still and blown up to 100% will look like utter dog shit! Even if the Red has the pixels to match a D2x or 5D a direct comparison of a still image at 100% is totally missing the context of the footage.

These are by far the best looking "Stills" I have ever seen from a cinema camera. And there only gonna get better!
 
I agree with Jarred, If this is just going to enable the naysayers then why... I know for a fact that about 99% of the people that have actually purchesed a camera are stocked that they are going to have a camera that can produce images close to that, let alone that is just test footage. from cameras that were not fully working models. I think everyone out there that has a camera they can do even close to that image qulity should just be happy with what they got and be on their merry way. But for the rest of use that don't and would like to own a camera that can even come close to the test footage. I think that this is a great day and an amazing test. I for one never thought I would own a camera that could ever come close to that and not have to go the lab everythime I wanted to use my footage.
 
Well I don't want to compliment it in fear it stays that way. :)

I think the fear was that there was so much back slapping going on about the (very very pretty I might add) footage that people were happy with the result and this is what we should begin to expect. I'm fine looking at pre-production footage, but I also want to make it perfectly 100% clear, that is not acceptable 4k compression for vfx, even if it looks great projected at 24fps. So while Evin's opinion is perfectly valid about the audience not looking at a film at 100%, there are those of us who spend most of the day squinting and nitpicking @ 300%.

All I wanted to hear was "yes yes we know we're working on it calm down. Dont' get your panties in a twist" and now that that's happened I can relax knowing it's in good hands.
 
This is all valuable information to all parties, great work, keep it coming, it can only make the camera better until it reaches a point where it is impossible to improve anything anymore.

Would love to see samples of one raw frame as is and then exported with a few different settings in REDCINE.
 
Everything (stills and video) looks tight like a tiger. Please post bittorrent seed of 1080p version of whole movie. I am a WWI plane fanatic and am desparate to see the S.E.5s filmed with my favorite camera. Or any movie that involves biplanes and decent filmmaking, for that matter. Everyone please stop complaining so that Red can feel comfortable to post the whole thing. My dad is a WWI plane nut too and he lives in the small town of Pietermaritzburg, South Africa, so unless Red are planning on doing a 4K showing of it there too, the people complaining are denying him (and a whole lot of other people the world over) a whole lot of fun ;)

Bruce Allen
www.boacinema.com
 
Jannard said:
We are showing frame grabs from a test shoot of Alpha prototypes. Unless you know all the facts, amount of exposure correction in post, pipeline of post to delivery here... speculation can be dangerous. We are posting all along the path of development. If anyone gets too worked up about any imperfection, we might just be better off holding for clips and grabs from a finished camera.
Click to expand...

Yeah, you guys are in a tricky position. If you post ungraded full bit depth stuff, some people are going to complain because they don't know what they're looking at ("It's too flat", etc.). If you post graded stuff, any artifacts introduced anywhere in the pipeline will get blamed on your camera by some. And, of course, if you hold things back, some will claim you have something to hide.

I think the best approach might just be to post a lot of stuff, graded, ungraded, etc. with information about how shots were set up. People could get an accurate view of how the camera performed and would probably stop obsessing over every little artifact.

Of course, there's probably just not that much stuff yet.

Once you guys start shipping cameras out... well, some people are going to make your camera look good, and some people are going to manage to make it look bad, I'm sure. Having a diverse collection of professionally shot material available for people to evaluate before that starts happening would probably do a lot to offset any potential damage done by those who, however unwittingly, end up falling into the latter category....

In general, though, I don't think you guys need to worry quite as much about PR management as a company making a consumer product would. Maybe this is just horribly naive of me, but I think people in the market for a camera like this are likely to do serious research, and maybe even rent one for test shoots. Internet gossip about early images isn't likely to do much damage, under such circumstances.
 
Looking at any image at 300% is idiotic for anything other than refining a selection. It means nothing with regard to what your eye sees, period. get over it !
-A
 
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