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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 :)

Red Compression and Matrix Tests.

Graeme Nattress said:
Microphones are designed to be flat (ie linear)
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I am constantly amazed not only at the knowledge found here, but the willingness to share - thanks!!

However, out of Graeme's mountain of knowledge I'd like to pick a small hole on the above quote. Studio microphones are not designed linear - but to sound nice! Just like film you choose a microphone you like the sound of, because they're 'coloured' in certain ways - just look at the response curves on some of the well known mics, they're not flat. One of the reasons analogue (tube) hifi sounds so nice is because it isn't linear. Analogue noise can actually be pleasant to hear, digital noise isn't - don't know why, but our brains prefer analogue noise.

This compares really well to film and how people are wanting curves in the digital world.
 
I agree with Simes, however you can profile good 32 bit audio to the analog sound but you can't profile analog to whatever digital can do.
At least not mathematically.

So in film we have the same analogy, 120p digital can be profiled to look like 24p film but 24p will never look silky smooth like 60p, unless you run the film faster:-)
 
I think you're right about mics not being flat, but neither are they modeled around the ear/brain's loudness response curves either. Indeed, they're for the most part, essentially flat with some tweaks for euphony, and hopefully a tube amp in them, like the nice Neumann's I can't afford :-)

Graeme
 
4 Graeme

4 Graeme

some eye (& ear) candy...:)

-framegrab from an AV event we covered.

an off subject, but anyway...


589_1171653613.jpg
 
Not knowledgeable enough to know offhand whether this is a valid question, but in broadcast TV where I work, the studio cameras have at least a couple of colour matrices - one being the old BBC matrix and the other an EBU matrix.

It's not unheard off to have to try to match footage shot by totally different cameras - will RedOne have any presets for ballpark matching of colour rendition to existing broadcast matrices? I know this is probably degrading Red footage to match old standards, but I'll bet it will be requested at sometime, somewhere!
 
RED produces REC709 HD colours. There's option for customs matrices to alter the colours, but I'd really get an engineer to do that. If you know the exact specs of any colour space, it's a simple matrix transform to move from one to the other.

Graeme
 
Graeme Nattress said:
Sorry, but I'm under strict orders not to divulge the method or appearance of the focus assist. I thought the story of it's invention would be useful though. I actually used the HD100 test footage I shot for my little movie to develop the code...
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Wow, I hope this is as amazing as you make it sound. I know I can focus my HD-100 much more easily than either the HVX or Canon. The peaking on the Canon is Ok - but the zoom in and focus option on the HVX is totally unusable if you're tracking anything moving or targeting something that's not in the middle of the frame... like a moving camera, changing composition and tracking focus.

If you've got those guys all beat it'll be a terrific selling point.
 
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