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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 :)

Phil Holland Weapon Test

Great test Phil, as always & as always thanks for the time it took you to do it.

I was most impressed by the LLO OLPF color response, it look like no penalty at all using it. It looks like it performed a lot better than the Standard in the match test with yourself as the model. Maybe it's me, but it seemed the skin tones were "truer" under tungsten with the female model, or rather I preferred it more. Call me crazy but I still love RG3!!!
 
Phil Holland said:
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This frame interests me.
I may start using my Skin tone OLPF in my aerial work.. Those RED DOTS often catch me out when pointing into the sun at closed apertures.

Now if anyone out there can make a high-brid of l a low light sensitivity and Skin tone that can spare us the RED DOTS and give us low low capabilities. I'll order 4 of them the moment they are online.

Thanks for the tests Phil.
 
U
Mark Toia said:
This frame interests me.
I may start using my Skin tone OLPF in my aerial work.. Those RED DOTS often catch me out when pointing into the sun at closed apertures.

Now if anyone out there can make a high-brid of l a low light sensitivity and Skin tone that can spare us the RED DOTS and give us low low capabilities. I'll order 4 of them the moment they are online.

Thanks for the tests Phil.
Click to expand...

But since the red dots come when you stop down heavily, when would you encounter them in a low-light situation?
 
What was interesting to me was the fact that shadow noise is not due to sensor design alone, it's also due to the OLPF.

Here, at ISO 12,8000, you can clearly see the STH OLPF looking much worse in the shadows:
RED_Weapon_Dragon_Snapshot_03.jpg


If I didn't know better, I would think it's a different sensor. Knowing it's just an OLPF change is an eye-opener.
Thanks, Phil.
 
Chris McKechnie said:
This community is a better place because of you sir! Your dedication and hard work towards the craft and your fellow redusers is unsurpassed.
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Thank you Chris. I like it here :) Also, loved your recent reel.


Eric Z said:
What was interesting to me was the fact that shadow noise is not due to sensor design alone, it's also due to the OLPF.

Here, at ISO 12,8000, you can clearly see the STH OLPF looking much worse in the shadows:

If I didn't know better, I would think it's a different sensor. Knowing it's just an OLPF change is an eye-opener.
Thanks, Phil.
Click to expand...


This is correct. OLPF contain layers, coatings, and crystals mined from the far off corners of the universe.

That last bit isn't true. But, each OLPF is indeed tuned to do certain things. All of which can block light slightly and effect color.

So each OLPF gets a custom profile or calibration. If that calibration isn't loaded you get all sorts of weird funky colors you likely wouldn't want. Which is why RED now has electronically detectable OLPFs in Weapon. Smart.

The ISO 12800 is indeed the extreme. And the STH OLPF is the most aggressive in terms of coatings and layers which is why it provides less IR reflection and all that. Likely due to the glass, coatings, and perhaps an Anti-Reflective layer. It's all voodoo when it comes to OLPF design, but whatever gets the job done.

RED always stated that the "recommended ISO range" of Dragon is ISO 250-2000. I still feel that is ideal for general shooting. But as you can see from this test footage, depending on your tolerances you can go significantly higher in the realm of ISO 3200-6400. And the good news if you do need to stretch things, this type of noise is trivial to remove. Though, it is processor intensive.


A quick note I wanted to add regarding the Match Test btw. The meter facing camera would not report a reading, so that's utter darkness. The rim light, spooky moonlight measured at 6 lux on my shoulder. That was real dark.
 
Mark Toia said:
This frame interests me.
I may start using my Skin tone OLPF in my aerial work.. Those RED DOTS often catch me out when pointing into the sun at closed apertures.

Now if anyone out there can make a high-brid of l a low light sensitivity and Skin tone that can spare us the RED DOTS and give us low low capabilities. I'll order 4 of them the moment they are online.

Thanks for the tests Phil.
Click to expand...


k is really great that Phil pushed the test to T18, but at least myself I know I would never shoot any lens no matter how great they are over T11, Master Primes been that I kept them always from T1.3 to T11, so why it is again good to see what one OLPF does vs the other at such extreme aperture, I am more interested in the results from WO till T11.

Mainly because I use Filters, but I guess I could easily see the need for those shooting without filters to close down as much as they can in certain Aerial set ups especially.
 
Think Jarred should include a Phil in every sold Weapon package... And possibly also include a spider checker board and cube. That way colours would be as should, always. :thumbsup:
 
David Mullen ASC said:
U

But since the red dots come when you stop down heavily, when would you encounter them in a low-light situation?
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Never....

But I'm one of those guys that doesn't want to change out OLPF's in every situation.

KETCH ROSSi said:
k is really great that Phil pushed the test to T18, but at least myself I know I would never shoot any lens no matter how great they are over T11, Master Primes been that I kept them always from T1.3 to T11, so why it is again good to see what one OLPF does vs the other at such extreme aperture, I am more interested in the results from WO till T11.

Mainly because I use Filters, but I guess I could easily see the need for those shooting without filters to close down as much as they can in certain Aerial set ups especially.
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You probably don't shoot out of helicopters as much as me Ketch, where landing to change out filters becomes expensive an annoying.
You have to figure out the sweet spot when filming from a heli.. You could be shooting in the dark shadows of skyscrapers, then pop up into bright daylight.. Then the light falls to dark.. So the last thing you need is a ND9 hanging off the front.

So when you do need to stop down because a glorious SUN SET just happens to fill the shot, ... thats when you get caught out.

I very seldom ever need to shoot past F11... but there are times just when it cannot be helped...
Flying through the guts of NY and the airport is 15 minutes away, you change filters, get clearance, take off again...... 15minutes to get back to location ooooh and the SUN AINT THERE ANYMORE!!!.

Lots of so called experts sit on the ground watching.
 
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Phil, not sure if I can even begin to imagine how much time you invest to share your findings here. So thank you for your tremendous efforts, you rock!

Ulf
 
Mark Toia said:
Lots of so called experts sit on the ground watching.
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Post of the week ;-)

Thanks Phil for your test. Any R3D still file available yet to look closely into different OLPF W options ?
 
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