Red Slowmo

[Jonas Nyström]

First of all: I love the great slowmotion options on the RED. However I have a question: How is it done? At 80fps or 120fps - is it 120 solid clean pictures in a second or is it for example 60 pictures, and CGI in the pictures in between? Sometimes you may see a little bit of artifacts reminding of the artifacts which at times occur when adaptive mode is used in Color when doing time remap?

[Stuart English]

is it 120 solid clean pictures in a second or is it for example 60 pictures, and CGI in the pictures in between?

Its solid clean images, no in-betweening...

[Jonas Nyström]

OK. Then it must be due to speed of the movement/shutter speed. Is it possible to have faster shutter than 1/120 at 120fps?

[Adrian T.]

But a higher compression rate is used so that the stream can still be recorded using CF or RED RAID. That's where the artefacts come from.

[Gunleik Groven]

Yes you can shoot with shorter shutter

[Jonas Nyström]

So could you say that the "in-betweening" comes in the compression then? The camera must get rid of information one way or the other!

[Jonas Nyström]

Yes you can shoot with shorter shutter

Which shutter did you use on your dogs and water?

[Adrian T.]

You can set the shutter to "relative" mode so you always get the same shutter "feeling" when changing the frame rate. Of course you have to compensate using NDs, iris or lighting.


So could you say that the "in-betweening" comes in the compression then? The camera must get rid of information one way or the other!

Unfortunately, yes.

[Jonas Nyström]

My first RED slow-mo tip is; don't do follow camera with slow-mo on gravel with running shoes ;-).

Not complaining, just curious how the RED is put together!

[Gunleik Groven]

The water was shot @ 113 fps 1/120 with ND 0.9 (& possibly a 0.6 stacked, can't remember...)

I think it should have been shot @ at least 240 ish and dropped the ND, but I didn't set up the cam on that shoot. We were just of people geeking around with a new toy.

The dogs are a bit of another story. Don't remember really. First thing I shot. Just grabbing the cam, walking into the snow (without a mattebox) and with a really bad lens. Also the web-compression treated the dogs particularily bad, and it was the first real workflow test I did.

[Jonas Nyström]

I like your dogs, after all I'm one as well ;-)

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[Gian Joon]

I like your dogs, after all I'm one as well ;-)

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:umm:

[Bing Bailey]

wasnt that the 18 to 50 red lens, I've never heard that was a bad lens, not fantastic but not bad

[Gunleik Groven]

wasnt that the 18 to 50 red lens, I've never heard that was a bad lens, not fantastic but not bad

I think RED would dislike me quite a lot if I ever suggested it was...

Nope. Old converted Lomo. Made in CCCP...

[Stuart English]

But a higher compression rate is used so that the stream can still be recorded using CF or RED RAID. That's where the artefacts come from.

No, its 2K resolution rather than 3K or 4K and that may be a factor, but theres no difference in recorded quality between 2K 24 fps and 2K 120 fps

[Gunleik Groven]

That's what I thought, but it's good to hear...

[Matt Garrett]

No, its 2K resolution rather than 3K or 4K and that may be a factor, but theres no difference in recorded quality between 2K 24 fps and 2K 120 fps
I think he was talking about having to use redcode 28 instead of 36 for some slow motion.

[Robert Berger]

if you stil want the 180 degrees filmshutter, when you shoot for example 100 fps you should turn to 1/200 shutter. Then you will have the sama as you shoot 25 on a 1/50 shutter. or 24 on a 1/48.

Robert

[Adrian T.]

No, its 2K resolution rather than 3K or 4K and that may be a factor, but theres no difference in recorded quality between 2K 24 fps and 2K 120 fps

Yeah, of course you're absolutely right, it's the resolution and not the varispeed setting. Sorry about being misinformed.

But the 2K compression is far inferior to the 4K compression (i.e. a 2K crop from a 4K still looks way better than a 2K still). I hope we will see some improvement here with build 16. :wink:

[Jonas Nyström]

Like 80fps @ 4K 2:1!

Is it the datarate which set the limit?

[Adrian T.]

Like 80fps @ 4K 2:1!

Is it the datarate which set the limit?

It's also processing power and the sensor clock. According to RED the Mysterium cannot deliver more than 60 fps @ 4K and 120 fps @ 2K.

[Jonas Nyström]

So could it be 80fps @ 3K?

[Adrian T.]

So could it be 80fps @ 3K?

I don't think so. That'd be too much data for the CF card/drive and probably also for the camera to handle. But who knows...

[Tony Lorentzen]

Or 240 fps at 1k, perhaps? :)

[Stuart English]

Or 240 fps at 1k, perhaps? :)

No, 120 fps is the max - wouldn't matter if we go down to 1K (which we don't)

[Mike Prevette]

120 FPS is pretty fucking unbelievable to begin with. I'm still so impressed with RED that 120 was delivered. It really is amazing.

[Jarred Land]

120 FPS is pretty fucking unbelievable to begin with. I'm still so impressed with RED that 120 was delivered. It really is amazing.

this its the exact reaction we were hoping for :)

heh heh heh ...

[samuelbrownfield]

For some reason I keep thinking I heard that you need the Red Drive to record 120FPS 2K, is this true? Or can you record to CF at that FPS/Resolution?

thanks

[Jonas Nyström]

120 fps on HD, 80 fps to CF.

[David McMurry]

quick question, forgive if this is elsewhere - but can you playback overcranked footage in camera in order to see the slow motion effect at 24fps (etc.) playback? or does this have to be imported into redcine first?

[Cam McGrath]

quick question, forgive if this is elsewhere - but can you playback overcranked footage in camera in order to see the slow motion effect at 24fps (etc.) playback? or does this have to be imported into redcine first?

You can playback overcranked footage in camera.

cam dRED