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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 :)

What issues will Epic overcome that have been thorns in the Red One's side?

L

Lachlan Ward

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The Strobe artefacts really get my goat. So I am hoping the shutter system on the Epic flattens them into dust.

Is the strobe issue being blown into little tiny bits?


Thanks

Lachlan
 
As much of a pain in the ass as the strobe issue is, I doubt that it will go away completely. Previous posts from Jim point to greatly improved photosite response times with the new Mysterium X sensor, but I'm not holding my breath for the issue to be gone completely.

I was brought onto a red shoot very late and upon arriving on set, to my horror, they were using stroboscopes as their PRIMARY light source. I almost had an aneurism. Somehow the producers, director, dp, ac (who works as a red tech), all failed to think about testing the light source, or even getting a synch-system for the strobes.

Needless to say if you're going to shoot strobes, RED may not be the best tool for the job.
 
Main difference will prob be much faster data rates - allowing high frame rates in 4K, potentially also more generous REDCODE (which may have benefits for DR etc.)

Sensor is higher rez which will also help.

No idea about the shutter artifacts, but all appendages are crossed. Popular wisdom is that it's inherent in how the CMOS sensor works. But they're clever folk.
 
Ed Blythe said:
Main difference will prob be much faster data rates - allowing high frame rates in 4K, potentially also more generous REDCODE (which may have benefits for DR etc.)

Sensor is higher rez which will also help.

No idea about the shutter artifacts, but all appendages are crossed. Popular wisdom is that it's inherent in how the CMOS sensor works. But they're clever folk.
Click to expand...

If they speed up the readout time of their sensor than skew will be reduced. Strobe artifacts are here to stay however.

I'm hoping for 14 bit DAC on the chip, hoping that this will mean DR increases even though Graeme once stated it doesn't. ;)
 
I'd hope for a hell of a lot more than a 14-bit AD. A 14-bit AD means we can't have more than 14 stops of dynamic range... and I'm hoping for more than that.
 
With 20 stops I could be really lazy and not worry about metering or lighting properly.
 
Brook Willard said:
I'd hope for a hell of a lot more than a 14-bit AD. A 14-bit AD means we can't have more than 14 stops of dynamic range... and I'm hoping for more than that.
Click to expand...

Are you sure this is the case? I don't understand how this can be true..

regards

Michael
 
reality said:
With 20 stops I could be really lazy and not worry about metering or lighting properly.
Click to expand...

Hi,

I doubt your images will look very interesting.

Stephen
 
Stephen Williams said:
Hi,

I doubt your images will look very interesting.

Stephen
Click to expand...

>20 Stops images look *awesome*. Have a look at this:
New_York_City_at_night_HDR.jpg


HDR digital cinematography is the next step.
 
Just as a note,
CMOS does NOT = split frame strobe effect.
DSLRs with CMOS use flash photography.
The Arri D-20, with a larger (vertically) CMOS sensor, works fine with strobes.
The boys at ARRI tell me that there is some heavy processing power performing the readout of the sensor in quadrants, simultaneously.
So before we set a price point for the camera, lets tally up how much the more expensive/ multiple FPGAs (and other hardware required to eliminate this problem) costs, and build that into the price. Let's not get backed into a price point that leaves no room for improvement.
Cheers,
Harry
 
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