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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 Lik...

Jannard said:
The Phase One lenses (Mamiya) have a ton of resolution falloff on the edges... the RPPs don't. The Canons were a big disappointment on the edges. When resolution counted on the edges, the Canons were just not there. It was a big surprise to all of us. Anything over 70mm, the Canons were fine. 50mm and below... they just didn't measure up.

When it comes to pure resolution, the answer is RPPs, Master Primes and Leicas.

Jim
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Canons are great over 70mm, but for wides, Nikon rules, for exactly the reasons you observed - clarity to the edge of frame. Which is why we are anxiously awaiting the Nikon mount. I would love to put my 35mm G 1.4 next to a Master Prime.
 
Lee Saxon said:
Am I the only one that thinks this looks fake? Too "clean" or "glossy," I really thought it was CG...Too much noise reduction?
Click to expand...

That's the look of HDR, not noise reduction. It looks a little unreal because the dynamic range is of shadows to highlights carries more information than you are used to.
 
Jannard said:
We also shot a Phase One 80MP back stitched. EPIC won.
Click to expand...

This is quite a statement that have kind of zero value without making the Raw frame of both available to everybody

i personally believe that the epic is best digital camera out there ,
but i don't believe even for 1 second that can capture stills better than the lasts Phase One 80MP

i would be happy to change my mind ,
but please post both Raw still frames

thank you

g
 
Stephen Aldridge said:
Read the thread. There was no HDR.
Click to expand...

Jim says he didn't shoot HDRx.

That is not the same as not using HDR techniques in post.

The image defiantly has a tone mapped feel. But this might also be Alchemy doing it's thing.

For the record I think it looks extremely nice, especially since it's so crisp and clean. Mesmerizing.

I really hope it's "just" Alchemy.
 
Antony M said:
On the contrary.

Jim said "A lot of this was Peter's techniques"
and Peter's main technique seems to be HDR.
Click to expand...

Has anyone done an A/B comparison of EPIC-HDR and the traditional bracketing done with DSLR's?
I shoot 360 panos and typically shoot 5-7 exposures per angle. We shoot 6 shots around, a Zenith and a Nadair shot.
I typically use Photomatrix for the HDR and then stitch those shots together in PTGUI.
I think EPIC/Scarlet would be ideal for 360 pano photography. Anyone tried it?
 
Antony M said:
On the contrary.

Jim said "A lot of this was Peter's techniques"
and Peter's main technique seems to be HDR.
Click to expand...

OK, but Jim also said in his first post:
Jannard said:
This shot did NOT use HDRx. It wasn't necessary.
Click to expand...

So no HDR, but why does it have some of the HDR "look" - and maybe too much for some people's taste (with the caveat you gotta see the print to really judge).

Alchemy.

Now that I've seen it at work I'm sure it's a microcontrast enhancer. See http://www.luminous-landscape.com/tutorials/understanding-series/lens-contrast.shtml Two ways I know of getting a similar effect with stills are HDR and HRLA (high radius low amount) sharpening. With both, the artifacts can start outweighing the benefits when overdone. Applying a similar effect in the RAW stage is a great idea.

As far as the shadow detail, that was probably a simple curve adjustment (which could only look good on a pretty noiseless file).
 
How may frames were stitched? Is this a gigapan composite? It would have to be fabulously high resolution in order to make a 10 foot print as proposed...
For those that do not know about gigapan, check out http://gigapan.org/
 
I have to admit this shot is intriguing…

Having not played directly with an EPIC I am wondering what the 120 fps (bit) does for skew control?

For objects that are far away, you can digitally recompose the image to “straighten” the skew out; because the subject is far away you don’t have issues related to motion parallax. I.e. if you had a moving subject close to the lens and still back ground further away it is much trickier to correct for skew.

The thing that is intriguing how you move a camera head, then stop then dampen the vibration from stopping and then shoot, then move the head again and then stop, that would take a comparatively long time. So maybe you don't...

A slow pan would still have some motion blurr… (right?...)

If a different lens was used with a large image circle then with various gubbins you can move the sensor behind the lens (I doubt they did that) and Jim said they used a Red Prime (smaller image circle). If you rotate the camera about the notional rear nodal point of lens that can also make your stitching easier.

So with Alchemy and other bits and pieces it’s possible to push the capabilities beyond normally what you would ever imagine. It seems.

For some of our technical applications the imagery has to be spatially absolutely “frozen” and the integrity of the geometry has to be absolute. In our case for certain application we need large static piece of silicon, i.e. the internal spatial (and dynamic/static) geometry of the shot is absolutely known. I’m looking at the Vegas shot, scratching my head thinking how can we (special applications) really make use of that…? Would love to find an excuse to the pull the trigger on that…(at least for what we do). Need to think hard and how...?

Thanks for sharing and showing.

Eric
 
Jannard said:
The point is that you can use an EPIC to make images that exceed a Phase One back. Or you can shoot The Hobbit. Or you can shoot an Indie film. And you can afford to own one. Plus we will be here for you.

It is not much more complicated than that.

Jim
Click to expand...

Does it go without saying that this kind of quality carries over to the Scarlet?
 
Karl Roeder said:
How may frames were stitched? Is this a gigapan composite? It would have to be fabulously high resolution in order to make a 10 foot print as proposed...
For those that do not know about gigapan, check out http://gigapan.org/
Click to expand...


On this page they have what they call the ‘EPIC PRO”

http://www.gigapansystems.com/


It seems like everything is "EPIC" these days whether it is or not. It’s like EPIC is the new awesome and awesome was the new “cool” (hep cat dadyo)…

The thing that makes me laugh a little bit about the positioning/pan rig is that they have to make a lot space and allowances for the form factor of 35mm styled DSLRS.

I have to admit I absolutely DETEST (for technical and other work) , the 35mm giant ‘Jelly mold” form factor. Absolutely drives me nuts and a few years ago I just point blank refused to work with these kinds of form factors as they are so clunky and annoying (at least for what we are doing).

The one thing I REALLY like about the RED EPIC (ish) form factors (almost like a Hasselblad) is that it makes sense. Beyond (and better than that) I also love the fact that bloody mirror box/ridiculous contraption has been “dumped”. High time, there are so many better possibilities for camera design and various implementations thereof. Also dumping the mirror box means you can get closer to the sensor if need be and use non-retrofocal lenses which can be much better in terms of lower radial distortion AND (in some cases, astounding sharpness). Also getting rid of the mirror box and the jelly mold (concept) means much more usefull internal and external mechanics can be intoduced that you couldn't do before (becasue the darn mirror AND lets not forget various stupid shutter mechanisms get in the way).

Seems RED is always looking and running the right direction.

Ta.

Eric
 
Jannard said:
...And sports photographers...
Click to expand...
Saw the College Football 3D crew at OU/TX, was in a few shots, but I can't seem to find the footage anywhere... Point is, they should just use epic for all the cameras, not just the 3D crew!
 
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