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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 :)

Thoughts and Tips...

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Resolution 101

In the very near future we will see 4K delivery. No doubt about it. But who gets to play?

It seems obvious that Standard Definition is not High Definition. But is High Definition (720P and 1080P) able to scale to 4K? Not from where I sit. Pushing less than 2K up over 400% to "fit" a 4K delivery is exactly the same as pretending that SD is HD. It just isn't.

We will attempt to demonstrate exactly what we mean. I will add other cameras performance as we do the testing. But to begin with... let's start with the Canon 5D, which promises a 1080P output. While the file size is 1080P, the actual measured resolution is quite a bit less. So too is Bayer pattern resolution lower than the file size. RED 4K actually measures about 3.2K and 4.5K actually measures about 3.7K. The new EPIC 5K will measure a full 4K. For comparison, 35mm Film measures about 2.8K for ASA 500 stock and about 3.2K for ASA 100 stock... both from a 4K scan. Film resolves much less from a 2K scan... less than 2K.

Graeme has shot Zone Plates of the 5D, along with the new M-X sensor upgraded RED ONE. Here are the results.

1265662267.jpg


M-X sensor (in red) and the Canon 5D (in black). The grey area is where the 5D2 provides either NO detail or corruption caused by aliasing. It really measures a "ragged" 1.4K horizontal resolution vs. about 3.7 for the Mysterium-X at 4.5K.

BTW... that is over 4 times more measured resolution.

3800x11630 = 6,194,000 measured resolution from 4.5K Mysterium-X sensor
1400x1080 = 1,512,000 measured resolution from the 5D

6,194,000 / 1,512,000 = 4.09 times more resolution

So... what measured resolution actually qualifies to be 4K delivery worthy? Same answer as what qualifies for HD. We know of no 1080P output camera that actually measures a full 1080P. There are varying degrees of uprezzing in every HD delivery. Some not much, some more. Same will apply to 4K delivery. The industry will decide.

We beg our customers to debayer RED footage at full resolution for final output. If you do your debayer at half-res, you throw away one of the primary advantages of RED... resolution. It will matter in the future.

Jim
 
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Resolution 102

This is where we keep track of camera's actual resolution. This list will continue to grow as the tests are done.

Canon 5D- 1080P output. 1.4K of measured resolution (and if you look at the chart closely, you will agree that this number is generous)

Sony F35- 1080P output. 1.7K of measured resolution (much cleaner resolution than 5D)

RED ONE- 4K output. 3.2K measured resolution
RED ONE- 4.5K output. 3.7K measured resolution

EPIC- 5K output. 4K measured resolution

Film (ASA 100)- 4K scan. 3.2K measured resolution
Film (ASA 500)- 4K scan. 2.8K measured resolution
 
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RED ONE HISTORY

"Bread Box"- March 2006

"Frankie"- Summer 2006

"Spike"- 1st working RED ONE, December 2006

2 Alpha cameras- April 2007

"Boris"- Used by Peter Jackson in "Crossing the Line"
"Natasha"- Used by Peter Jackson in "Crossing the Line"

8 Beta cameras- June 2007

"Penny"
"Bombay"- used on Ché (Guerilla)
"Mars"- used on Ché (Guerilla)
"Acapulco"
"Romeo"
"Juliet"
"Silk"
"Leo"

25 Pre-production cameras- August 2007

"Moscow"
"Shanghai"
"Beijing"- used on Ché (The Argentine)
"Paris"- used on Ché (The Argentine)
"Prague"

"London"
"Hollywood"
"Rome"
"Berlin"
"Tokyo"

"Sydney"
"Deadwood"
"Athens"
"Madrid"
"Chicago"

"Helsinki"
"Capetown"
"Dublin"
"New York"
"Seattle"

"Singapore"
"Casablanca"
"Montreal"
"Havana"
"Bangkok"

1st Production cameras delivered August 31, 2007

Serial #1-25

Jim
 
1... 2... 3...

Shooting a RED camera.

1. Set up your camera
Load latest firmware
Do a Black Shade Calibration (lens cap on, T22)
Format media (CF card, RED RAM, etc.)
(If you are renting a RED ONE, do a "restore settings" to clear any previous settings that may be left over from a previous job)


2. Set up your project.
Select a project size like 4K 2:1, 4K 16:9, 4K Quad HD, 4.5K 2.33:1, 3K 2:1, etc.
Select a project frame rate base like 23.976 (default), 24 or 25.
Select a color space like REDcolor (default) or RAW


3. Set ISO/ASA and exposure Do tests before your shoot!
Set camera White Balance (or better yet, shoot a MacBeth, grey card or other white reference in the scene and set WB in post).
Use your light meter
Use the camera exposure tools
• Check your histogram.
• Stay inside the "goal posts"- Noise floor (left) and clipping (right) in RAW with Build 30
• Check "RAW Check"- Noise floor (purple) and clipping (red) in RAW with Build 30.
• Check "barber pole"- RAW with Build 30.
• Check "stop lights"- RAW with Build 30.
• Use False Color

RECORD.
 
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Size matters...

EPIC format sizes:

5120 x 2700 • 5K Full Frame
4800 x 2700 • 5K HD
5120 x 2560 • 5K 2:1
5120 x 2160 • 5K 2.37:1
4480 x 1920 • 4.5 Wide
4096 x 2304 • 4K 16:9
3840 x 2160 • 4K HD
4096 x 2048 • 4K 2:1
4096 x 1706 • 4K 2.4:1
3072 x 1728 • 3K 16:9
2880 x 1620 • 3K for HD
3072 x 1536 • 3K 2:1
3072 x 1280 • 3K 2.4:1
2048 x 1152 • 2K 16:9
2048 x 1024 • 2K 2:1
2048 x 853 • 2K 2.4:1
1920 x 1080 • 1080 HD

RED ONE Mysterium-X format sizes:

4480 x 1920 • 4.5 Wide
4096 x 2304 • 4K 16:9
3840 x 2160 • 4K HD
4096 x 2048 • 4K 2:1
3072 x 1728 • 3K 16:9
2880 x 1620 • 3K for HD
3072 x 1536 • 3K 2:1
2048 x 1152 • 2K 16:9
2048 x 1024 • 2K 2:1
1920 x 1080 • 1080 HD

4K anamorphic: 2816 x 2304
3K anamorphic: 2112 x 1728
2K anamorphic: 1408 x 1152
 
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GRADING RED footage...

1st Choice. White Balance and grade native R3Ds in a system that supports the R3D SDK like Scratch, Pablo, Baselight, REDCINE-X, FCP, Color, Adobe CS4, Vegas, etc.

2nd Choice. After selecting the correct White Balance, output full range (REDlog or REDgamma) and full res debayer to DPX, TIFF or ProRes 444 from REDCINE-X/RED Rocket. Open output in 3rd party grading applications.

Jim
 
RESOLUTION REFERENCE...

Jim

1270580188.jpg
 
Peter Jackson...

Here is a special little clip our good friend Peter Jackson put together for us for NAB...

 
REDcine-X Build 346...


Build 346:
http://red.cachefly.net/redcinex/eval/REDCINE-X_build_346_mac32.zip
http://red.cachefly.net/redcinex/eval/REDCINE-X_build_346_mac64.zip
http://red.cachefly.net/redcinex/eval/REDCINE-X_build_346_win32.zip
http://red.cachefly.net/redcinex/eval/REDCINE-X_build_346_win64.zip

Changes from 344 -> 346
Updated Manual.
Redline Colorspace Fix for Camera RGB.
Additional sanity checking of user crop settings.
Fixed ordering issues with dragging items from browser and bin.
Fixed ordering issue when exporting selected.
Presets now save to disk immediately after add and edit operations.
Fixed 1700 WB issue with multiple clips.
Fixed installing redline to paths with spaces when admin access is required.
Export pause race condition fix.
Fixed crash when a 3dClip fails to load one side from project.
Monitor out export pause issues
Monitor out toggling issues.
Avid sdk issues on case sensitive drives (showed up again with the new avid sdk)
Show advanced controls colorspace flicker
Windows xp startup issues
Set Finder Icon
Info.plist now uses the current build # allowing open RCX projects from finder to use the correct version of RCX
Close button added to metadata window
Rocket setup dialog now shows additional information about Red Rockets.
Bug fixed where bin table would show up without columns
Allow dragging of clips in the bin/browser table views even if the filename column is not visible.
Changed video window input so it won't steal mouse wheel events from other controls.
Properly clean the cache when an export finishes.
Disabled clearing of the cache when exports resume on 64bit builds.
Empty bins on startup (will not effect saved bins from older builds)

Jim
 
REDcine-X Build 348:

http://red.cachefly.net/redcinex/eval/REDCINE-X_build_348_mac32.zip
http://red.cachefly.net/redcinex/eval/REDCINE-X_build_348_mac64.zip
http://red.cachefly.net/redcinex/eval/REDCINE-X_build_348_win32.zip
http://red.cachefly.net/redcinex/eval/REDCINE-X_build_348_win64.zip

Change list 346->348:
Fixed: REDLine and Avid issues
Fixed: Full res decode for software exports when camera meta was set to use framing guides.
Fixed: Grade usage with the Export using REDLine option.
Fixed: Case sensitive drive issues with the Export using REDLine option.
Fixed: Panning while framing box is displayed.
Windows Avid SDK reverted back to older Avid SDK 1.5.2 compatible with Windows XP.
Fixed: additional cases where the Quicktime dialog would not show up on windows.
Fixed: FPS indicators.
Fixed: saving of the stereo setting in export presets.
FIxed: exporting of stereo clips to Quicktime and Avid.
Fixed: Timecode wrap around.
Fixed: manual distribution for Windows 64 builds.
Fixed: RGB color indicator on windows.
Optimized switching of list to thumbnail views.
Clips are now sorted by filename in the thumbnail view.
Sort order is preserved when dragging from browser to bin.

Jim
 
REDCINE-X Build 351...

Now you get to see what all your footage looks like all over again. Enter REDcolor2 and REDgamma2. Skin tones will never look better.

Open your files and change to RC2 & RG2... you'll be amazed. Tell your friends.

Jim

Build 351:
http://red.cachefly.net/redcinex/eval/REDCINE-X_build_351_mac32.zip
http://red.cachefly.net/redcinex/eval/REDCINE-X_build_351_mac64.zip
http://red.cachefly.net/redcinex/eval/REDCINE-X_build_351_win32.zip
http://red.cachefly.net/redcinex/eval/REDCINE-X_build_351_win64.zip

Requires REDRocket Driver:
http://red.cachefly.net/rocket/RED_Rocket_Installer_v1.3.5b.zip


Change list 346->351:
REDcolor2 and REDgamma2
REDLine Batch script exports now properly quote file paths.
Use REDLine now properly keeps the correct number of REDLine tasks running.
Fixed a bug with Trimmed R3Ds in the same folder.
Fixed Show in folder for Avid exports.
Fixed a case where drives without icons could cause a crash.
Added the option to interpret source out timecode as Inclusive or Exclusive for EDL loading.
Fixed: Export with REDLine wasn't using external audio.
Fixed: Batch job stalling fix.
Fixed: Monitor out issues.
Fixed: Exporting a Timeline(with slugs) to R3D Trim.
Timecode and related metadata now updates while playing back in monitor out mode.
Fixed: REDLine Avid Crash
Fixed: Full res decode for software exports when camera meta was set to use framing guides.
Fixed: Grade usage with the Export using REDLine option.
Fixed: Case sensitive drive issues with the Export using REDLine option.
Fixed: Panning while framing box is displayed.
Windows Avid SDK reverted back to older Avid SDK 1.5.2 compatible with Windows XP.
Fixed additional cases where the Quicktime dialog would not show up on windows.
Fixed FPS indicators.
Fixed saving of the stereo setting in export presets.
FIxed exporting of stereo clips to Quicktime and Avid.
Fixed Timecode wrap around.
Fixed manual distribution for Windows 64 builds.
Fixed RGB color indicator on windows.
Optimized switching of list to thumbnail views.
Clips are now sorted by filename in the thumbnail view.
Sort order is preserved when dragging from browser to bin.
 
I know the new 351 Build of REDCINE-X was posted on Recon last week and there have been lots of positive comments about REDcolor2 and REDgamma2... but if you haven't downloaded that build and dusted off your old footage, you are missing out.

This color science combo brings the "filmic" out of RED footage... even from the old M sensor. This combo needs to be tried. If you have already commented on the other thread, no need to post further. If you have been lazy and not seen it for yourself, this post is to encourage you to do so. This is a hugely meaningful advancement to the RED program.

Jim
 
EPIC-M...

We are going to machine and hand build a limited number of pre-production EPIC-M packages. They will include:

1- Machined and hand assembled EPIC-M Brain with titanium PL mount
1- Bomb EVF
1- 5" Touchscreen LCD (machined)
1- Side Handle (machined)
1- Side SSD Module (machined)
1- REDmote (machined)
1- 4- 128GB SSD cards
1- 4- batteries and charger

Total price is $58,000.

There will be an extra charge for a Canon mount.

If you are a RED ONE owner and are interested in this program, please contact Kelly at kelly@red.com

There will be a limited number of these cameras available at a cost of $58,000 per package. There is no guarantee that you will receive this package due to the limited number produced. Purchase of the camera package will not affect any other program (Stage) you have signed up for. 95% of features will be enabled... enough to shoot a feature movie. Firmware upgrades are to be expected.

Jim
 
Scarlet S35 is now...

called EPIC-S. The features have changed as has the price. I'll update when we know what we are doing.

Jim
 
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Hobbits on Red Epics...

Peter Jackson's two film adaptation of The Hobbit will be shot in 3D using RED DIGITAL CINEMA'S soon to be released EPIC Digital Cameras.

The successor to RED's industry changing RED ONE, the EPIC has 5K resolution, can shoot up to 120 frames per second and has a new HDRx™™ mode for the highest dynamic range of any digital cinema camera ever made. Taking everything they had learned from building their first camera, RED designed the EPIC from scratch and have produced a smaller, lighter camera that is an order of magnitude more powerful.

The Hobbit will be amongst the first productions in the world to use the EPIC and at least thirty cameras will be required by the 3-D production. The EPIC'S small size and relatively low weight, makes it perfect for 3-D - where two cameras have to be mounted on each 3D rig.

Jackson has a long history with RED, dating back to when he directed the short film 'Crossing the Line' as a very early test of prototype RED ONE cameras. "I have always liked the look of Red footage." he says, "I'm not a scientist or mathematician, but the image Red produces has a much more filmic feel than most of the other digital formats. I find the picture quality appealing and attractive, and with the Epic, Jim and his team have gone even further. It is a fantastic tool, the Epic not only has cutting edge technology, incredible resolution and visual quality, but it is also a very practical tool for film makers. Many competing digital systems require the cameras to be tethered to large cumbersome VTR machines. The Epic gives us back the ability to be totally cable free, even when working in stereo."

Jim Jannard the owner and founder of RED flew to New Zealand earlier this year with members of his team so that Jackson could test the EPIC and assess its suitability. "Everybody at RED is incredibly proud that Peter has chosen the Epic" says Jannard, "The Hobbit is a major production, and could have chosen any camera system that they wanted. The fact that they went with us is extremely gratifying."

The Hobbit will start shooting in New Zealand early next year.

Jim

1290983311.jpg
 
Here are some really great examples of the difference between the old and new gamma options. In order they are:

REDgamma (old)
REDlog (old)
REDgamma2 (new)
REDlogFilm (new)

These are courtesy of Michael and Don Burgess with help from Brook Willard.

Jim

1291498159.jpg


1291512774.jpg


1291460754.jpg


1291456599.jpg
 
This is very old school. The Milk Girls were shot with Frankie (way before the 1st RED ONE). I dusted off the old file and hit it with new color science just to see what was up.

1st is with the equivalent of REDlogFilm (adapted for Frankie footage) and the 2nd just has a quick curve added. 5 seconds of grading so don't read too much into it...

Jim

1291446694.jpg


1291448445.jpg
 
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