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    #21
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    I bet this is Red without using HDR-X to extend the dynamic range.


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    #22
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    Quote Originally Posted by John Brawley View Post
    Thanks.

    Yes it was a hacked GH1. I used for a few key scenes in the series. We had a scene that largely took place in a night club toilet....with three cast....in the cubicle ! So it was perfect for those kinds of one of shots. One of our characters also rides a bicycle a lot and it was a great camera for rigging to his bike. This allowed the cast member to actually safely ride his bike in the show without being on a trailer etc. And you get much better travelling shots that way, cause he can turn through 360 degrees and it looks great on camera.

    http://flic.kr/p/9Nz6se

    We also used the GH1 for the occasional car rig shot but the AF100's tended to be the preferred car rig cameras. We have very strict road rules that don't even allow for cars to be driven with Hostess trays, or hood mounts. We have to shoot everything from within the car or get a low loader.

    The GH1 did struggle a little in the cars, mainly because of it's more limited dynamic range in difficult lighting conditions, but just about any camera has a hard time with these kinds of

    I've found with the cast that if I tell them what I'm doing and why I'm doing it then they get right on board. They equate it with more intimate scenes too. I've often used the GH1 / AF100 for closed set type scenarios where it's just me and the cast in the room. It's a lot less intimidating and more discrete for this kind of work. Sometimes I'd retire the A camera operator and the director would operate a second camera. She was the series setup director and is ex-camera department herself. Again, this makes it much more intimate with the cast. Just two camera operators, a boom swinger and the cast in the room. And the director operating with me on the B camera.

    I've also given the cast AF100's or GH1's for the occasional POV shot. Our main lead LOVES to do her own POV shots when she can. She's actually become quite good as an operator and asks to do them !

    Her character has a lot of fantasies or segues into alternate possibilities so we're always doing speed ramps or rigging cameras in crazy ways. We use lot's of different cameras so the GH1 is just another camera that gets used for certain kinds of shots or setups. The main disappointment with it is that it doesn't have any way of monitoring it's output when it's rolling.

    jb
    I just woke up. It's sunday, and this was a joy to read after a camera fight. John, that sounds like the experience we're all after man. Good job and cheers


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    #23
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    Ok, waking up. s16 makes me the happiest, alexa is the first cam i've seen footage off that threatens that happiness...

    ... but the red? what happened to that window? surely exposing for the window can result in not too noisy shadows? did u not expose for the window? I mean I'm not into red, but still I'm sure it can't pale that bad. It looks like an hd-fake-shoulder next to those two...

    reading over to see if i missed any exposure details...


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    #24
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    watching more... mx is gorgeous in the dark. that window hurt though.


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    #25
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    I think with HDR-X on the MX will pull ahead clearly and decisively. It's supposed to have about 18 stops when HDR-X is on...from what I've heard. This test is clearly MX without HDR-X, so it's not the best it's capable of and I think a bit more detail could have been pulled out on that window.


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    #26
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    It should be able to pull more detail without hdrx though, i think the test was to see how far it'll reach into the highlights when exposed for the 'average'. I guess. I may sound like a moron.

    But definitely could've pulled more out of the windows. I think at least.

    T


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    #27
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    How much would be latitude from Varicam??


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    #28
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    Please keep in mind that even Jim Jannard himself said HDRx will not work in all situations and should be kept for "needs must" situations.

    Basically, HDRx should not be used in any DR tests to help determine real world shoots because certain shots might not work out with HDRx
    Last edited by Jay Birch; 06-05-2011 at 04:27 AM.
    stylecreative.net - Designer/Video/Music bloke


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    #29
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    Quote Originally Posted by greymog View Post
    It should be able to pull more detail without hdrx though, i think the test was to see how far it'll reach into the highlights when exposed for the 'average'. I guess. I may sound like a moron.

    But definitely could've pulled more out of the windows. I think at least.

    T
    I agree. I think they could have pulled out more detail from the highlights as well.


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    #30
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    Two issues with the Red footage. What settings were used to grade it? Are the windows actually blown out, i.e clipped, in the raw file or is the data there? Because if the data is there in the raw exposure, then the way the scene is rendered for value in the example is a grading choice, whether deliberate or not. A reasonable comparison with Arri log-C footage would start with Redcolor2 color space and Redlogfilm gamma as grading points and refining from there. The major difference between Arri and Red 1MX on a truly comparable exposure and grade would be just a little more noise in the deep shadows with the Red, not blown highlights.
    Many of these comparisons look to me like the R1 footage was graded with REC709 gamma and color space as a starting point, effectively throwing away 3 stops of available DR in the Raw file.

    Here is a true example of how an R1 Mx can handle extreme dynamic range when skillfully graded.

    http://www.zoomfilmtv.com.au/ftp/Dyn...rast_test2.mov
    Last edited by Razz16mm; 06-05-2011 at 07:19 AM.


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