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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 :)

scarlet noise and need help with redcine-x denoise

Comparison between R1 M and Scarlet-X images (R3D) also Leica and Zeiss lenses

Comparison between R1 M and Scarlet-X images (R3D) also Leica and Zeiss lenses

Seems to me that some of my two years old flowers shot on RED1 M (May 20, 2009) look cleaner and sharper in a comparison to Scarlet X flowers shots from Tonaci.

Maybe I could be wrong here with my comparison between R1 M and Scarlet-X sensors

but for me it's for sure and obvious that Leica Summilux R 50mm f/1.4 lens beats Carl Zeiss Super Speed in sharpness, contrast and color rendering.

Have a look for yourself if you want at R3Ds of my shots and those are available below to download.

Also you could apply Alchemy, Clarity and Saturation in RCX-PRO and get a gorgeous images!

A024_C004_05201Q_web.jpg

Shot on RED ONE M with Leica Summilux R 50mm f/1.4, no filters, ISO 320, K 5600, REDcolor2, RED gamma2, no any cc applied...
A024_C004_05201Q.0000000F.R3D


A025_C003_0520VH_web.jpg

Shot on RED ONE M with Leica Summilux R 50mm f/1.4, no filters, ISO 320, K 5600, REDcolor2, RED gamma2, no any cc applied...
A025_C003_0520VH.0000000F.R3D


A004_C001_0425QC_web.jpg

Shot on RED ONE M with Leica Summilux R 50mm f/1.4, no filters, ISO 320, K 5600, REDcolor2, RED gamma2, no any cc applied...
A004_C001_0425QC.0000000F.R3D
 
The Scarlet plant was rather monochrome, only green. Anyways, nothing annoys me more than nature and plant photography for judging cinema cameras, I'm probably not alone at that notion...
 
sanjin - thanks for your input but your images are bright at 320 iso, tonaci's at 320 look like how it was - a cloudy day.

this has really got me thinking that for any shoot where i intend to use RAW media, i should set ISO to the camera's native iso and then leave it alone
 
J Davis said:
sanjin - thanks for your input but your images are bright at 320 iso, tonaci's at 320 look like how it was - a cloudy day.
Click to expand...


ISO 320 was so called a native ISO for Mysterium S35 sensor, that's a fact.

Look at the metadata of R3Ds above...

Also to avoid a pollution from NDs and Pola I shot without any filter, apertures were set between 5.6 and 11.

Scarlet-X is ISO 800 with MX.

But also I had RED ONE MX, just have to dig more in my archive shots....
 
If scarlets native iso is indeed 800 then I would be inclined to agree with you in that it does appear noisier.

When and where was it rated at 800? – I've been fairly attentive of all the developments and posts but I must have missed that one
 
J Davis said:
If scarlets native iso is indeed 800 then I would be inclined to agree with you in that it does appear noisier.

When and where was it rated at 800? – I've been fairly attentive of all the developments and posts but I must have missed that one
Click to expand...

I don't know but Graeme Nattress just said something like that...

But anyway I hope that RED is working on Dragon sensor to improve much better

high signal-to-noise ratio and high sensitivity/low noise that means a super clean high ISO @ 25600 (that is my wish here!!!).

They have to eliminate the sensor pattern at the bottom floor and make it almost invisible

just because when you once try to bust gain with breaking in high ISO and to look for a sensor's bottom floor you can't reach any noise...(it's just a dream...)

A lot of work in that direction but hopefully they will achieve it soon...

Having said that is my own desperate need for a new sensor with a brand new image processor in Scarlet line...

But that's me...

Also here is my old tread about high ISO and RED ONE MX sensor to compare with Scarlet-X today

And of course it was shot at available light with a masterpiece lens Leica Apo-Summicron M 75mm f/2.0 @ wide open f/2.0.

MX @ ISO 6400 - Workflow explained – 08-30-2010 >>>
 
It's also worth noting that cameras like the F3 use high gain modes for low light which also removes dynamic range as well as aggressive denoise and compression which also reduces detail significantly. Compared to raw where the denoise is expected to happen in post.
 
noise like this used to bother me. then i want to the cinema and watched a great number of good films shot on 35 and realised that audiences are used to grain. As long as Red's noise feels like films grain i don't see a problem.
 
Brad, are you running on Rocket? If so, you don't get that control.

Graeme
 
Not so much a reason as that's just the way it is - the software and hardware paths are different.

Graeme
 
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