RED L.A. photos/what have you's

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Nice

Nice

I was there with one of my production partners and an actor/editor friend, both of whom were largely unfamiliar with the camera and very skeptical. We were all blown away by the footage, with our comments centering around the fact that this camera, if completed properly, should kill film acquistion. But we're holding our breath to see if they can take it from the current Frankenstein version to a working, reliable field camera. That is a huge leap. I'm dying to see if they can do it. In fact, I send them little prayers. Time will tell. But as far as the appearance of the footage, it's something entirely new. Essentially, it looks like extremely clean 35 mm film; the next generation, if you will. And when I say extremely clean, I mean noise and grain-free. I was a little disappointed they didn't open it up for a Q & A afterward, but Ted and Jarred were at the front and were available. Let's see what happens over the next six months to a year. I want to hear some feedback from people who actually take it through a whole production, from acquisition to post. Then it will be a great rental for our future projects.
 
No. You can do that yourself if you want to, but I don't. I think sharpening is one of the greatest evils of our time. It makes everything, even NHK 8k footage look like VHS - do it at your peril.

Graeme
 
DVXSanDiego said:
I was a little disappointed they didn't open it up for a Q & A afterward, but Ted and Jarred were at the front and were available. Let's see what happens over the next six months to a year. I want to hear some feedback from people who actually take it through a whole production, from acquisition to post. Then it will be a great rental for our future projects.
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Yeah sorry Mark... we had very little time between screenings and had to get people out of the theater quickly to get the next round in so we couldnt have the QA session.. Stuart and Me and Ted and Jim and Brian where happy to talk to people in the front though, but yeah it woulda been nice to have a QA.

Feel free to ask away here though if there are any unanswered questions :)
 
Does Red have any plans to shoot any other kind of scene setting - day interiors, night interiors and night exteriors? Oh, and I expect a bag of caramel corn with my camera thank you very much....in a pretty red cellophane bag.
 
Thanks

Thanks

Hey Jarred, that explains it. It was good to meet you though and have a chance to personally thank you for all your work on DVXUser. Regarding questions, I was more interested in hearing what some of the DPs in the audience would have asked given the opportunity. The only question I had (whether it was the Sony SXRD 4K used to project) was answered by Ted. My curiosity is satisfied for now. I'm just going to sit back and wait for the first test of the assembled camera. Good luck to you all.
 
First of all, I too like everyone was blown away by the quality. Thank you for sharing this with us. I did notice some choppiness in the outdoor shots but someone explained to me, that the shutter speed used could have been slower to take the choppiness away. Also, was I the only one that noticed that the 300 prime shot scene had 2 dirt spots on the lens. Don't get me wrong. The quality was perfect. I just noticed the 2 dirt spots on the lens, that's all. It was a great show. Exciting times ahead.
Ronnie
 
Ill take the hit for the the dirt spots.. They where actually on the ND filter, and I didnt see them when i cleaned the rest of the lens areas before shooting. Total Human error, and ill take the fall for that (sorry).

Dust at super resolution is visible, you gotta keep things really really clean.
 
Any word on the mechanism for switching between the optical RAW attachment and the onboard REDFLASH? The interfaces appeared to be attached with some form of screw arrangement... is it a quick on-set fix or would it require breaking down the camera and getting into a clean environment?
 
Just got back from the screening last night at around 11:30pm (drove back to Phoenix). I agree the "buzz" in the air was incredible. It was nice meeting a few DVXUsers (FatBird and Donatello) and seeing Jim and Jarred (didn't talk to either, maybe next time)

The footage was exactly how I had hoped. Simply beautiful. The wider shots did seem a little soft compared to the 300mm close-ups, but only if you were looking at the girls. If you watched the props, some of them stayed in focus. I think it was more an issue of focusing Frankie and (like Jarred said) lack of a 1st AC. Nothing I'm concerned about.

As for the REDCODE images, they were quick, and it did seem like the coloring was a little different than the previous shots, but I couldn't see any compression. I was hoping to shoot in REDCODE before the screening and now I'm planning on it.

Congratulations REDteam, keep up the fantastic work.

PS- I got my "R" in the mail Tuesday. I'll have to get it signed some other time. :)
 
shaftbond said:
The footage was exactly how I had hoped. Simply beautiful. The wider shots did seem a little soft compared to the 300mm close-ups, but only if you were looking at the girls. If you watched the props, some of them stayed in focus. I think it was more an issue of focusing Frankie and (like Jarred said) lack of a 1st AC. Nothing I'm concerned about.
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That brings up a good point and that was my impression of the posted images on the RED site. Are there any "really" sharp sample images? The images on the RED site are gorgeous but I don't see much real high frequency content in them. (I know they are unsharpened, that's not exactly what I am getting at here.)

I did some tests where I resized http://red.com/images/gallery-still/4k_1 down to 2K and back up to 4K. Before I dare share my results, I would like know that I was using the sharpest image to begin with.

Sorry for the OT post. Until I can partake in a screening, (in TX at the moment), I am very excited by RED and even more eager to find out what this system can do.

Thanks

-Mr. Wigggles
 
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Hey Brook,
From what I saw, it looked like there were going to be two different versions of the camera. One with the internal flash and one with the high-speed data port. There would be no switching.
 
Graeme_Nattress said:
No. You can do that yourself if you want to, but I don't. I think sharpening is one of the greatest evils of our time. It makes everything, even NHK 8k footage look like VHS - do it at your peril.

Graeme
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Music to my ears!!!

Can't believe people are still going on and on about the sharpness!! Finally there's a digital camera that produces beautiful film-like images.. and why? Because they won't SCAR your eyes!!!!!!

I'm scared to death that the Red team will buy into these requests for sharpness... I wake up in the middle of the night screaming "NOOOOOOOOO, LORD!!! TAKE ME INSTEAD!!!!"

Knowing Graeme and Jim share my love for pleasing soft images helps me sleep at night...
 
SF Geek said:
Hey Brook,
From what I saw, it looked like there were going to be two different versions of the camera. One with the internal flash and one with the high-speed data port. There would be no switching.
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You CAN switch between the flash card port and the high speed port (if you own both). That is a modular mount on the left side of the camera.

Jim
 
I prefer to use the word "smooth" and describe the feel as "chocolate" as "soft" has some negative connotations, but I agree with the sentiment. I'm enjoying getting such great feedback on the aesthetic.

Graeme
 
Graeme_Nattress said:
I prefer to use the word "smooth" and describe the feel as "chocolate" as "soft" has some negative connotations, but I agree with the sentiment. I'm enjoying getting such great feedback on the aesthetic.

Graeme
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Hehe. Agree. "Soft" might sound like something with glow applied to it. My bad. Chocolate it is!!
 
shaftbond said:
As for the REDCODE images, they were quick, and it did seem like the coloring was a little different than the previous shots, but I couldn't see any compression.
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Wavelet compression will not introduce the same kind of artifacts that we are used to see with traditional video compression, so you need to know what to look for...

I did see a difference between the Redcode compressed version and the uncompressed version that were projected, however the Redcode clip was super short so what I'm saying here is based on my subjective observation.

It surely felt less detailed than the uncompressed version, but not necessarily in a bad way. While typically digital projection is inferior to film projection when it comes to storytelling, (Digital projection tends to draw attention to the imagery, while film projection helps keeping the attention on the actors and the story. I've attended test screenings comparing digital projection vs. film projection in which the two were compared using the same source materials, and I strongly support this theory...), the Redcode compressed clip seemed to magically have the storytelling advantages of film projection. I obviously can't explain the reasons to it, especially considering the super-short clip that has been projected, but that was my subjective feeling, and in my opinion, if I feel the same when watching a longer clip, that is a big deal by itself!

While I do hope Redcode Raw keeps improving, I do want to praise the fantastic visual esthetics of the Redcode Raw compression codec, which are in my opinion taking the right path for narrative filmmaking purposes.

:)
 
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"The Mysterium image is smooth, rich and creamy... just like chocolate". I kinda like the sound of that. hehe

Jim
 
Jannard said:
You CAN switch between the flash card port and the high speed port (if you own both). That is a modular mount on the left side of the camera.

Jim
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Excellent, that's what I thought. How difficult is it to switch between interfaces? Are tools required?
 
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