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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 ONE M-X Sensor Upgrade Program

So Jim -for those of us who may be months away from receiving the upgrade call and have features to shoot, you're saying we stay far away from tungsten at all costs?

If we shoot with the existing sensor at 500 -can Graeme's magic still work even though we're talking about the old sensor?
 
Jim,

I know this is not the right topic to ask these questions.
When we will see the difference between RED1 M-X 12-bit and EPIC-X's 15-bit processing?

REDCODE 42 vs 250?
 
Jannard said:
Early on... the "native color temperature" of the M sensor was critical because it fell down hard in tungsten. Then tungsten got a lot better with improved science and firmware. Now... better again. And better still with the M-X because the sensor is more quiet everywhere. We shot a LOT of footage under tungsten last week that looks clean as a whistle with M-X. So... long story short, the "native temp" of the M-X is still about 5000K. But you shouldn't be afraid to shoot tungsten, sodium vapor, match-lit, or any other light source with M-X. Proof is in the footage being posted (see new M-X reel, OffHollywood footage). We'll have more soon that blows you away.

Jim
Click to expand...
Totally agree! I shot the other day in a heavily tungsten environment (bar interior lighting only, no additionals) and couldn't be happier with the new FLUT/RedColor/RedGamma system!

B011_C023_0207CW.0000231.jpg


B011_C014_0207R8.0000007.jpg


Shot with 'regular' Mysterium sensor build 21.4.1, using Canon EF50mm f1.2L wide open on the Birger mount. Resized to 1920x803 (for Blu-ray Disc output).

Looks pretty good to me!

Cheers,

Paul
 
RED camera with new sensor available in NYC this weekend?

RED camera with new sensor available in NYC this weekend?

Hi all,

Sorry if this generally the wrong place to post this, but I'm a producer on a project doing some night shots in NYC this upcoming saturday (Feb 13th), and I'm just wondering if a RED camera with this new sensor is available here in NYC, and thought it might be okey just to post that on this thread because of the timing of it all. If you have any info on this, please email me at trulsteigen at hotmail.

Thanks.

Truls.
 
Truls Teigen said:
Hi all,

Sorry if this generally the wrong place to post this, but I'm a producer on a project doing some night shots in NYC this upcoming saturday (Feb 13th), and I'm just wondering if a RED camera with this new sensor is available here in NYC, and thought it might be okey just to post that on this thread because of the timing of it all. If you have any info on this, please email me at trulsteigen at hotmail.

Thanks.

Truls.
Click to expand...

Check with Mark Pederson at Offhollywood in NY. Mark is a frequent contributor to this forum and they have a demo of night footage shot with M-X.
 
The new M-X Sensor is an amazing upgrade to our R1's...if you are on the fence about upgrading you shouldnt give it a second thought.

Test image shot at ASA 800, T1.9. Lit with a single daylight Micro-Flo lamp.
 

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Brent@RED said:
And, yes, we had a bundle of RED Rocket™ and MX-Upgrade. Now splitting them into "pay for bundle now, ship Rocket now, do M-X upgrade when eligible" is a new wrinkle for us to figure out logistically. We are working on it and should have it sorted out soon for you guys...

BC
Click to expand...

We are all set on the backend to handle this process now of "pay for entire M-X upgrade/RED Rocket bundle now, get Rocket shipped once payment is posted to your account, and then get M-X upgrade done when camera is eligible". Just coordinate with Nick at mx - at - red - dot - com if you'd like to take this path.

BC
 
Just got #115 back. MX is bad ass! In my testing today I pulled 13.5 stops of DR from my camera!

I did the stops with a lens. I will do it again with lighting and a meter not with stops.
 
great news Rich... pretty incredible hey?
 
Jarred Land said:
great news Rich... pretty incredible hey?
Click to expand...

Smokin man, just smokin!

Straight into the fire, testing today was all good with camera function, images, sound and post processing. Tomorrow we shoot Mothers Polishes spots for a couple days.

Prost,
Rich
 
You got 13.5 stops of Dynamic Range from a 12-bit camera?
 
Mitch Gross said:
You got 13.5 stops of Dynamic Range from a 12-bit camera?
Click to expand...

Think out of the box.
Who said that you can’t go logarithmic on the 12 bit linear?

Especially that digital AtoD converters, inherently supply logarithmic data resolution across its range.
 
Do we have to do this again?

Stops do not equal bits, nor do they directly correlate with the bit depth of a sensor's range. You have your visible range that the sensor can see, which is analog. And then you have your bit depth at which it is encoded, in this case it's a 12bit value. So that means 4096 steps of gradation between the darkest and lightest value. Stops are a non-linear, abstract unit of measurement. Rich could have just as easily said he was able to identify luminance in a shot from 0.25fc to 3600fc and I bet no one would have questioned bits as related to stops. Even though that is roughly a 13.5 stop range.

As for 13.5 stops, that's about what RED is claiming. I still haven't got my hands on an M-X camera to see for myself....
 
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Anyone knows the answer ?
If I upgrade my red 1 to the m x sensor can I still use stage 3 and trade it in for the Epic X

thanks
mark
 
Torrie said:
So Jim -for those of us who may be months away from receiving the upgrade call and have features to shoot, you're saying we stay far away from tungsten at all costs?

If we shoot with the existing sensor at 500 -can Graeme's magic still work even though we're talking about the old sensor?
Click to expand...

I tend to think the whole tungsten issue gets blown out of proportion a bit on the M sensor. I don't disagree that R1 Mysterium loves daylight, loves HMI. You will get your best, cleanest footage under those conditions. However, with recent builds of firmware, tungsten shooting has improved quite a bit. I have found that the key to tungsten is just making sure the sensor has enough light to work with, and keep an eye on your channels. If the blue channel is severely starved you will see noise. In that case, make sure to feed it some more blue, either via an 80 series filter or by gelling some of the lights. As long as you monitor the blue channel and get your ratios correct, you can get some very nice footage from tungsten lights. Make sure to shoot charts for every setup, so post has reference point and of course, white balance the camera so they have a starting point. If you define white at the front end, makes everyone's lives easier later on. The charts can be invaluable, I always use them. And now with Red Color you have a way to refine the color even more.
 
Jeff Kilgroe said:
Do we have to do this again?

Stops do not equal bits, nor do they directly correlate with the bit depth of a sensor's range. You have your visible range that the sensor can see, which is analog. And then you have your bit depth at which it is encoded, in this case it's a 12bit value. So that means 4096 steps of gradation between the darkest and lightest value. Stops are a non-linear, abstract unit of measurement. Rich could have just as easily said he was able to identify luminance in a shot from 0.25fc to 3600fc and I bet no one would have questioned bits as related to stops. Even though that is roughly a 13.5 stop range.

As for 13.5 stops, that's about what RED is claiming. I still haven't got my hands on an M-X camera to see for myself....
Click to expand...

Looking at the outdoor footage in the official MX reel, it does seem to be about that. It would also make sense - if it is clipping at the same level of brights, and seeing that much deeper into the darks (about 3-4 stops, or so, depending on hwo fussy you are about noise, just glancing at the DiCaprio shot it looks like this is the case), then you get 9 or so stops (before) plus 3-4 more stops in darks (now) = about 13 or so.

As per the bits/stops debate: guys - I have a Blu-ray here, which is a less than 8bit medium. (8 bit = 0-255 RGB Blu-ray (in practice)= 8-235 RBG). Yet, it is capable of beautifully displaying images which contain 14 stops, 16 stops, any number of stops. It just maps these values to the darkest and brightest luminance my display is capable of. It can map any range of values (as found in the filmed environment and seen by whatever camera was used to make the production) to this range, and it always works and looks close to perfect, because it is a good albeit also only 8bit display.

Problems would only occur if I tried to re-grade my Blu-rays.

WIth 12 bit, you have more than enough digital elbow room to also regrade. Period, end of story.

Come on now! This isn't that complicated!
 
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