Texas Wildlife

[Stuart English]

Lizard. 18 - 50 CF. Noon. Exposed via false color meter. Distance 12 inches

[Stuart English]

Same setup - early evening.

[Mark Thorpe]

I've been waiting to see Natural History subjects. Do have any longer glass for close work. Would love to see some very close macro work. Like full frame on the lizards head etc.

Thanks for posting. What do you have for Zebra option percentages to protect highlights?

Cheers,
Mark.

[Stuart English]

I used false color metering on the RED-LCD for these. I know they could be better, but great fun in the garden today in any case.

There are two Zebras, measured in IRE. Zebra 1 (highlight) indicator range defaults to 94 to 108. Zebra 2 (shadow) range is 0 to 8, or 44 to 47 when used as 18% grey indicator. In reality these can be put wherever you want. Just call up SMPTE bars or Luma Ramp to set them up.

False Color writes a preset range of colors over a monochrome version of the image. Image below shows how the colors fall relative to stops and IRE.

[Steve Freebairn]

Nice shot of the spider Stuart.

[Mark Thorpe]

Thanks for the Zebra info Stuart.

[Lauri Kettunen]

Stuart, nice images giving a good idea of the potential of the camera. Appreciate the natural tone of colors as well as your effort in controlling the highlights so well.

[number6]

Nice test shots Stuart, and accompanying information as well. Caused me to wonder if Marty Stouffer is a reservation holder?

[Sanjin Jukic]

Have a look:

http://www.sanjinjukic.com/extras/lizard.jpg
Lizard.


http://www.sanjinjukic.com/extras/spider.jpg
Spider.

[wshultz]

I used false color metering on the RED-LCD for these. I know they could be better, but great fun in the garden today in any case.

There are two Zebras, measured in IRE. Zebra 1 (highlight) indicator range defaults to 94 to 108. Zebra 2 (shadow) range is 0 to 8, or 44 to 47 when used as 18% grey indicator. In reality these can be put wherever you want. Just call up SMPTE bars or Luma Ramp to set them up.

False Color writes a preset range of colors over a monochrome version of the image. Image below shows how the colors fall relative to stops and IRE.

Thanks Stuart! I've been wanting to see some indication of how the false color works. Finally! Any chance of seeing it supered on the image?

[SalaTar]

would love a raw spider shot at full rez :D

[Gavin Greenwalt]

Thanks Stuart! I've been wanting to see some indication of how the false color works. Finally! Any chance of seeing it supered on the image?

http://www.panavision.com.au/PDFs/Manuals-Other/Accuscene1280sMkII.pdf

see page 25 and 26. Also unless they changed it, Stuart's false color scale is different fromt he accuscene one (entirely possible).

[wshultz]

Thanks Gavin

[David Battistella]

My try at the spider.


http://www.f8films.com/client/RED/attachment-1.jpg

David

[Gavin Greenwalt]

I also did a quick version in photoshop (assuming that Stuart's numbers/colors are right.)

http://i111.photobucket.com/albums/n134/im_thatoneguy/falsecolor.jpg

seeing as I've never actually seen RED's implementation I can't say for certain if that's an accurate representation. Also... that image is of a graded image so that you can see the full range. With red's 11+ stops of lattitude I'm sure you'd see far more data falling into the blue/gray/green range on a linear raw image.

[David Battistella]

With red's 11+ stops of lattitude I'm sure you'd see far more data falling into the blue/gray/green range on a linear raw image.

But would you be seeing 11 stops in the EVF or LCD?

David

[Gavin Greenwalt]

I would assume the false color display is a false color of the full 11+ stops before any LUT is applied to make the image look pretty.

Otherwise the false-color would lose its efficacy in my opinion.

[David Battistella]

I would assume the false color display is a false color of the full 11+ stops before any LUT is applied to make the image look pretty.

Otherwise the false-color would lose its efficacy in my opinion.

Sorry Gavin,

I meant. Can the EVF or LCD display that full 11 stop range?

David

[Drew Mylrea]

I don't think it can, which is why the false colors are necessary? I mean, if we could see all 11 stops we would know exactly what was being dropped off and what was clipping without the colors, no?

[David Battistella]

I don't think it can, which is why the false colors are necessary? I mean, if we could see all 11 stops we would know exactly what was being dropped off and what was clipping without the colors, no?

I'm just not sure. Is there a great thread on this or a sticky or a link?

David

[explosive]

Have a look:

http://www.sanjinjukic.com/extras/lizard.jpg
Lizard.


That hurts my eyes. :pinch:

[Gavin Greenwalt]

I don't think it can, which is why the false colors are necessary? I mean, if we could see all 11 stops we would know exactly what was being dropped off and what was clipping without the colors, no?

I would be 100% confident in saying you view the linear output from the sensor without an LUT (aka the full 11+stops). The false color just helps you see what is really black and what is really white.

[Stuart English]

I also did a quick version in photoshop ... seeing as I've never actually seen RED's implementation I can't say for certain if that's an accurate representation.

Thats pretty close. The EVF and LCD are viewing false colors generated in 10 bit REC709 color space. The red in that example says back off the exposure a bit.

Here's a view of an unretouched image capture and the corresponding false color LCD view.

[Jeff Kilgroe]

Thanks for sharing, Stuart. Looks great. BTW, what's the vertical 1234 on the bottom of the LCD image, to the right of the power source indicator?

[Stuart English]

Thats a placeholder for the audio channel metering Jeff

[Stuart English]

Some more - all CF 18-50 no color correction

[David Battistella]

How about this?

http://www.f8films.com/client/RED/attachment_3.jpg



Thank you for posting a viewfinder image. It gives us an insight into the inner workings.


David

[Sanjin Jukic]

In cinematography (like in photography) everything is about a light.
To achieve the best results is about to shoot in certain parts of a day.
The problem with daylight is the color temperature of light..
The natural and neutral lighting conditions are the most accurate to shoot.
The main goal in CC is to achieve that accurate temperature of the picture.
If you have over or under light exposure then is not so much help in post.

Also we have to see how is to work in REDCINE to do 1st light correction or how 4K REDCODE RAW behaving.



http://www.sanjinjukic.com/extras/worm.look.jpg

http://www.sanjinjukic.com/extras/butterfly1.look.jpg

http://www.sanjinjukic.com/extras/butterfly.look.jpg

http://www.sanjinjukic.com/extras/garden.look.jpg

Kodak print film 2383 or CineSpace 2383 CC calibration is done in IRIDAS SpeedGradeOnSet Demo.

[David Battistella]

In cinematography (like in photography) everything is about a light.
To achieve the best results is about to shoot in certain parts of a day.
The problem with daylight is the color temperature of light..
The natural and neutral lighting conditions are the most accurate to shoot.
The main goal in CC is to achieve that accurate temperature of the picture.
If you have over or under light exposure then is not so much help in post.

Also we have to see how is to work in REDCINE to do 1st light correction or how 4K REDCODE RAW behaving.



Is this directed to someone specifically?

David

[Sanjin Jukic]

To someone interested in that topic.
Could be any of us.

[David Battistella]

To someone interested in that topic.
Could be any of us.

Cool.

I wasn't sure where it was going but it is a good point.

david

[Rob Lohman]

Looks good Stuart... you have some "interesting" critters in Texas...

[Justin Kirchhoff]

Stuart, where in Austin do you live? I've never seen a caterpillar like that in Austin before...

[grandpa it burns]

Stuart you are an amazing man. I really love your work. I will be down at the red offices on the 25th, I have a meeting with Jarred and your designer to discuss my wheelchair mounting system. I would love to meet you and get your input as well. Great images!

[Jeremy Teman]

Have a look:

http://www.sanjinjukic.com/extras/lizard.jpg
Lizard.


[QUOTE=The Third Man;85315]In cinematography (like in photography) everything is about a light.
To achieve the best results is about to shoot in certain parts of a day.
The problem with daylight is the color temperature of light..
The natural and neutral lighting conditions are the most accurate to shoot.
The main goal in CC is to achieve that accurate temperature of the picture.
If you have over or under light exposure then is not so much help in post.

Also we have to see how is to work in REDCINE to do 1st light correction or how 4K REDCODE RAW behaving.

Then why CC something to look like this? If I had to watch a whole film with that amount of saturation my head might explode.

Unless you were just trying to show how the picture holds up...but ouch.

[Mark Thorpe]

Here's a view of an unretouched image capture and the corresponding false color LCD view.So this is how the scene will look in any given monitor, LCD or VF when False Color is enabled?

Cheers,
Mark.

[sbroock]

I used false color metering on the RED-LCD for these. I know they could be better, but great fun in the garden today in any case.

There are two Zebras, measured in IRE. Zebra 1 (highlight) indicator range defaults to 94 to 108. Zebra 2 (shadow) range is 0 to 8, or 44 to 47 when used as 18% grey indicator. In reality these can be put wherever you want. Just call up SMPTE bars or Luma Ramp to set them up.

False Color writes a preset range of colors over a monochrome version of the image. Image below shows how the colors fall relative to stops and IRE.

Stuart -- this chart is extremely helpful, and the images are fantastic. Not sure what I'll get what I kick over the rocks in Central Park.

I think I may have missed it, are you referencing the colors off the EVF or LCD?

[Sanjin Jukic]

[QUOTE=The Third Man;85315]Have a look:

http://www.sanjinjukic.com/extras/lizard.jpg
Lizard.




Then why CC something to look like this? If I had to watch a whole film with that amount of saturation my head might explode.

Unless you were just trying to show how the picture holds up...but ouch.

Just to show the saturation edge.