VOGUE + RED

[Jannard]

One option is to shoot 96fps (or 120fps at 2:1) and 180 degree shutter. Slow-mo and sharper stills.

Jim

 

[Blair S. Paulsen]

Due credit to RED for that fact that we can even have this discussion.

Due credit to RED for that fact that we can even have this discussion.

Jim's suggestion is pretty much what we have been doing on 2 for 1 projects - though in typical CYA fashion we usually shoot a couple takes at more normal 23.976 fps/180° for the motion piece, then some at 22.5°(1/384th) and 11.25°(1/768th) for the still pulls.

Depending on the "look" intended for the motion stuff and the level of importance placed on the still pulls, you could push the A track exposure to the right a bit to keep a 3 stop X track from being as underexposed as it would be if the A track was shot to protect the highlights. Obviously this tactic is more viable on some projects than others.

IDEA:
I'm wondering if RED could leverage what they have learned with HDRx, "Magic Motion" and working with the Foundry to create a tool for expanding the practical usability of shooting slo-mo (over crank) and stills concurrently for projects where some of the motion footage needs to look good played back at normal speed. Let's say you shot 96fps @ 180° shutter like in Jim's example, if you just plucked every 4th frame the result for motion will typically look quite choppy due to lack of motion blur (yes, in some instances it might be subtle). This seems like a great opportunity for some kind of reverse optical flow treatment that would look at all the frames to estimate and then recreate the missing motion blur for a smooth 24fps rendition.

Cheers - #19

 

[Iain Philpott]

One option is to shoot 96fps (or 120fps at 2:1) and 180 degree shutter. Slow-mo and sharper stills.

Jim

Having tested a bit - concluded with what Jim says as the best result. This is unretouched from a skincare shoot.

 

[Daniel Kunz]

Thank you Jim for your advice.
Though it only applies to the Epic, since Scarlet can't do anything above 3K and 24fps. (Hello PAL!)
And even though slow-motion looks great, it may not be the first choice for the motion stream since you may want to record audio or have a realtime scene.

It would be awesome if you could TTL sync the Scarlet/Epic to your lights to give 24/25/30/48/60/96/120Hz high output flickers, synced to the HDRx Stream of the DSMC. That way you can expose for the smooth motion stream and still have razor sharp stills.

Or even simpler:

JIM, could you please make a optional IRND filter that syncs with the camera? Something like the Tessive, but smaller (goes right in front of the OLPF).
That way you can expose for your stills and have the smart-IRND filter smothen the motion of your A Track.
low ISO for both motion and stills, real motion blur and no temporal aliasing for film, sharp images for stills, no tinkering with flashes or bulbs, IR-Pollution fixed.
Just a smart IRND-Filter in front of the Sensor. That would be my solution. And while you're at it, make an option for off-sync it so that it produces a selectable grad-filter ;-)

 

[Will Keir]

Hi Daniel,
So far I have used frame grabbing 3 times and all the images I have used for print was when the model was not moving at all. Motion blur is the main problem when using frame grabbing.

Hey Daniel, are you shooting on a Scarlet or Epic? If on an Epic, do you think shooting at a higher FPS would solve some of the motion/screen grab problems? Would shooting 2k @ 300 fps giving you a large enough file to work your magic on or is 4-5k a must? I assume you are using photoshop for post?

 

[Will Keir]

One option is to shoot 96fps (or 120fps at 2:1) and 180 degree shutter. Slow-mo and sharper stills.

Jim

Yeah, that's what I was thinking. Why not shoot 300 fps @ 2k?

 

[Will Keir]

Any idea what settings David used on his Epic to get such pristine results?

Check this month's Vogue ( April ) for our first and biggest print ad ever... 8 page fold out featuring Rooney Mara shot on EPIC by David Fincher, lit by our good friend David Devlin. You need to see this printed.

The power of DSMC... shoot motion and extract single stills for not only print covers.. but massive fold-out spreads like this.

Sure to be a collectors item for our friends.

PDF: http://red.cachefly.net/RED-VOGUE.pdf

 

[Will Keir]

I'd like to hear a little advice as well. Are there any tutorials out on the use of HDR? Will?

Hi Will, thank you for your answer. I know that i'm not completely on topic. But i would love to hear from someone who actually does Shootings like these:
If you do HDRx, how do you set up your 2nd stream to have 180°? I just see +1, +2, +3, +4, +5, +6 as options.

If my calculations are right, i would set up my settings as following:
Motion Stream (A):
FPS: 24
ISO 250
F:2.8
Shutter: 1/48

Still Stream (B)
FPS 24
ISO 1000 (2 Stops over ISO 250)
F:2.8
Shutter: 1/196 (HDRx +2)

am i correct? And if it were so. why would any photographer want to compromise having all his stills shot at ISO 1000 since in still Photography every detail counts, where as in motion you tend to downsample?

 

[C.H.Haskell]

In the middle of nowhere south france living on a vineyard...save me an issue Jarred and I will send ya a bottle of this organic RED we bottling tomorrow.

 

[Daniel Kunz]

Why not shoot 300 fps @ 2k?

because i don't like to upscale. 2K is enough for motion, but once you're into advertising (and most other print material), 2K stills don't cut it.

 

[Jon MIchael Puntervold]

Sent to printing today, will make for a a few nice posters in the hallway...

The elegance in the poster reminds me a little bit of the 64th Cannes poster, any chance of Red Digital Cinema presence in Cannes in the future? Found no Red events last year, but a lot of ARRI stuff...

 

[Jon MIchael Puntervold]

BTW: Would be cool if you managed to lure Werner Herzog (who seemed to hate the start up time of RED ONE: "Itz not a kamera, itz a komputer"), and other great european art-house teams&directors - back to the Red system? Anyways, hope the new Dragon sensor will have the nuances of great wines. Red did it, the 4k system, a true digital cinema camera, slow-motion in a little box, etc. etc. etc.... the next evolution is in the nuances, or maybe I'm totally wrong?

 

[M.Paul El-Darwish]

Very impressive. This kind of multi-functionality might cause us to abandon the vertical 'portrait' orientation for the most part. With the exception of some posters, Horizontal landscape covers 95% of new era visual imagery.

well. I just got back from B&N and studied the Vogue Issue. No loupe, just my reading glasses. To put it briefly, I was quite underwhelmed by the JLo cover. comparing it to a smattering of AD pages in the same issue for example, I was in some case, hugely underwhelmed. You can tell the Digital Hassy shots, from the DSLR's and this video stream Grab in a big way. Not to say it wasn't acceptable, but I would say it was borderline so. I'll leave it at that. There's hope. Lots of hope.

 

[Will Keir]

I see, thanks for your experience.

because i don't like to upscale. 2K is enough for motion, but once you're into advertising (and most other print material), 2K stills don't cut it.

 

[Sergio Perez]

Breathtaking!!

 

[Daniel Russo]

What page is the Ad on ? I'm looking on the vogue app and I don't see it.

 

[Casey Green]

I might add that amazing images are just as amazing no matter where they are published...

 

[Patrick Grossien]

RED DSMC PRINT SIZES

RED DSMC PRINT SIZES

I thought I'll make this for the non-print related redusers here. and it's always nice for having as a quick check sheet. hope you guys can put this to good use.

and a print out version

 

[Arnold F.]

Awesome, incredible, amazing, pretty cool, gorgeous, etc.

 

[Will Keir]

Thanks Patrick!

I thought I'll make this for the non-print related redusers here. and it's always nice for having as a quick check sheet. hope you guys can put this to good use.