Ready, Aim... Fire.

[Chad Lancaster]

wow the 2nd one looks great. I'm right in the middle of pano print testing with my epic. I better wait for RC3/RG3, looks too good

 

[Jannard]

Share away!

Jim

May I share these photos of keep them under wrap?

 

[Paul Ellington]

Share away!

Jim

It's on like Donkey Kong!

 

[Danny Murray]

Share away!

Jim

im still wondering why the RED History Thread was taken down?? it was like looking at the beginning and Evolution in a timelapse!

 

[Scott Auerbach]

As I reflect... it is pretty scary to think that RED changed the industry when we had absolutely no idea what we were doing...

Jim

History is written by those who don't know what they "can't do."

 

[Jannard]

I have always been too dumb to know what not to do...

Jim

History is written by those who don't know what they "can't do."

 

[Álex Montoya]

The images look amazing with RC3/RG3. Do you have some tone skins under tungsten among your tests, Jim? My next shoot will be with Epic-X in night interior mostly.

 

[Zack CC]

Man, I leave to go out to dinner and this whole thing blew up. And rightfully so! Very excited.

 

[Wayne Morellini]

Now, this is what I'm talking about!

Have not been this excited about a camera for ages.

Jim, can I still get that $7000 s35 scarlet you had originally , or was that $5k .

I look forward to your future scarlet releases.


Wayne.


Imagine if there was a 4k s16 scarlet that could have done this.

Greenscreen...

Jim

Peter Lik... EPIC and RPP.

Jim

No HDRx...

Jim

Try this one... click on the pic.

Jim

One more with RG3/RC3 and RPP.

Jim

More RG3/RC3...

Jim

This has a very pleasant Kodachrome quality to it. Great thread!

He,He

All my old files are coming to life without needing a grade...

Jim

The colors of RG3/RC3 are significantly improved. Again.. a very old file from a RED ONE M sensor. No grading other than the standard settings.

It is amazing how much "found" dynamic range there is...

Jim

This has a very pleasant Kodachrome quality to it. Great thread!

I shot this on the island almost 5 years ago with a RED One original M sensor. It used to take a lot of tweaking to get a good image in one of the early RED apps...

This is REDgamma3 and REDcolor3. No other changes. Easy.

Jim

 

[Wayne Morellini]

As I reflect... it is pretty scary to think that RED changed the industry when we had absolutely no idea what we were doing...

Jim

Nonsense, Jim! You knew a lot the industry was not doing.

BTW, the images show the scarlet potential as the next box Brownie, of the pro world

 

[Yannick Verry]

One more with RG3/RC3 and RPP.

Jim

I like the very fine grain... oups... "noise", in the mountains...

 

[Jens Jakob Thorsen]

DRAAAAAGOOOOON....

 

[John Bannister]

It amazes me how RED keeps on giving. I am thrilled with my Scarlet.....Thrilled! It is everything I needed and more....but now Jim and his team tell me........no SHOW me how it's about to get even better. This why I am so passionate about RED and their team, my loyalty runs deep. Can not wait. Thank you!

 

[Wayne Morellini]

Short image analysis. The wrestler, the tones, the tones, the tones, they look right. I know it is not a moving picture to tell for certain but it is somewhere there. It is a nightmare color correcting for an unknown group of sensor deviations, so it is good that you have it down pat for us too play with.

The tones are just in the range, the shade side of the face has some life in it, the crests of the skin's surface are contrasting out, the opposite sides highlights are at a good level. A dimensional, 3d, texture to it.

However, the post green screen example looked different when I first saw it, but whatever was done this is what I noticed. On the shade side, the skin surface crests where flatter, there was not the life in it, this is what I have noticed in various films, apart from seeming flat lit areas in the face, which I don't see. So obviously, this could be something in the post or theater chain causing it inadvertently, as we theorized.

Congradulations, cheers.

 

[Tehben Dean]

Try this one... click on the pic.

Jim

This... Is... IN-SANE.

So sharp yet so silky.... incredible.

I'm going to have to go and get a set of heavy primes now... But you know what, screw it! Who cares! my camera just lost 6lbs after all

 

[Brad Allen]

However, the post green screen example looked different when I first saw it, but whatever was done this is what I noticed. On the shade side, the skin surface crests where flatter, there was not the life in it, this is what I have noticed in various films, apart from seeming flat lit areas in the face, which I don't see. So obviously, this could be something in the post or theater chain causing it inadvertently, as we theorized.

Congradulations, cheers.

Don't put too much weight on the colors of my greenscreen example - i made some very quick and rough levels adjustments to help the image settle in the background a bit better - that's it. It was a 30 sec job all up - not a professional grade

 

[Brett Clements]

The fact we get to plug straight into the conversations and musing from the Chief Designer and his 2IC, with an interactive peer group audience, that's better than GOLD. Its RED. Looking forward to the next release.

 

[Dennis Guskov]

The RPPs are the single most underrated lenses in the industry. Really.

I guess we didn't hype them enough.

Jim

Jim, did you ever consider going back to RPPs to add more focus witness marks, make them more like the lenses people are used to (e.g. UPs & MPs)? not to take away the job from Matt Duclos or anything (http://matthewduclos.wordpress.com/2010/12/18/rppline/)

Also, I remember you had plans to expand the RPP line with 14mm and 135mm lenses (if I remember correctly) along with a few in-betweens. Is that still on the roadmap?

 

[AndreeMarkefors]

I spent a lot of time here as things were gearing up for Scarlet... then expected to land around $6000-7000. That was a price that I could swallow without feeling the need to go commercial right away.

The air went out of me a bit when Scarlet was released, since I felt I would need to have a business up and running to justify the new price point.

Seeing these pictures now floors me. It's hard to grasp that they are taken from a movie stream. The distortion free crispness is on a level that you would be happy to extract from a high end, dedicated 20 MP stills camera.

Now, I guess these are not 100% crops, but resized images right? But even so, it takes nothing away from the fact that the quality is crazy good.

I wonder what Dragon will bring...

Someday I'll own pictures like these.

 

[Wayne Morellini]

That's ok Brad, the point was the levels landed up emulating something I've been seeing in Red footage, and might be worth figuring out to help people avoid it. Even though the images are more contrasty and saturated than what I would normally use, it is still a sort of look used in cinema, photography and TV.

I have peered deep into the images and gleaned a few other things, but especially the original 2005 or so Red shoots have speckle, but still not too bad, and the modern are great. I did notice a difference in red and green in the Penn and Teller Los Vages shoot, that I will have to look for in the others. Te second Lik version sacrifices, acceptably, a but of the top (see upper left corner clouds), but at least the sky is a good blue, not turquoise or purple shift which I have seen. To see such clarity and pixels in shoots is great after seeing so many years of crap from different cameras out there.

I think my mate Harold Jung knew Peter, he died last year. I met one of these guys that had a store front here that had been in with Red. No, different guy, great landscape photographer, did the photography for Beyond Thunder Dome, I think Duncan was his name. Now I would love to see some of his landscapes done with a 35ff or 645.