Candles in Manhattan

[Mark L. Pederson]

Shot tons of stuff today - way too much fun - will post footage and 4K tiffs soon - here's a low res teaser - one practical and some candles - that's it -

[Evan Owen]

Oh man.... oh man....

That's crazy.

I hope those tiffs don't take too long or my refresh button's going to wear out...

[Keith Alan Morris]

badass, offhollywood.

[Jeff Kilgroe]

neat-o

I want to see it in motion...

[Geoff Reisner]

Beautiful shot... I want motion too :)

[Larry McKee]

Unbelievable. It's unreal how well the satellite dish pops out from the clouds/haze.

[Roberto B]

Beautiful shot... I want motion too :)i second the motion.. :clown2:

[Geoff Reisner]

Unbelievable. It's unreal how well the satellite dish pops out from the clouds/haze.

Not too long ago, I remember driving at night and looking at how the dark tree line would be separated from the night sky...and I'd think to myself, "I can't wait till I've got a camera that can do that."

[Larry McKee]

Mark, what ASA rating did you use for this shot?

[Casey Green]

good stuff, thanks.

You guys are having way too much fun! Wish I could afford a camera. :)

keep up the good work!

[Mark L. Pederson]

Mark, what ASA rating did you use for this shot?

500 - opened up the shutter

[jbeale]

So shutters more than 180 are enabled now? Is the shutter close to 1/24 ? I know it can't go all the way to a 360 degree shutter, because there is some minimum readout time, but does it get close?

[Brook Willard]

If memory serves, a 1/24 shutter is possible. I feel like I've selected that option before.

[Frank Mirbach]

Looks great ! Let us have more !

[LighthouseMEdia]

Okay I can't figure out this low light stuff there seems to be a great disparity that I am seeing between cameras. The low light stuff showcased in Chicago was pretty bad when pushed to even 500ASA it had loads of grain about on kill with the viper and exhibited some REAL BAD NOISE in the blue channel. I'm having a hard time rationalizing the difference in performance I'm seeing. I have seen some clean footage and some REALLY BAD grainy footage. Ideas???

[Mark L. Pederson]

Okay I can't figure out this low light stuff there seems to be a great disparity that I am seeing between cameras. The low light stuff showcased in Chicago was pretty bad when pushed to even 500ASA it had loads of grain about on kill with the viper and exhibited some REAL BAD NOISE in the blue channel. I'm having a hard time rationalizing the difference in performance I'm seeing. I have seen some clean footage and some REALLY BAD grainy footage. Ideas???


POST PRODUCTION

[LighthouseMEdia]

hmmm this was James Matthers footage, and I was just really very suprised how quickly it developed noise when pushed to 500 let alone 1000 or higher.

[grandpa it burns]

Mark...Oh Mark! You are amazing, I think I love you and your beautiful pictures...Keep em coming!!!

[Mark L. Pederson]

hmmm this was James Matthers footage, and I was just really very suprised how quickly it developed noise when pushed to 500 let alone 1000 or higher.

do you know exactly how the footage was "processed"?

[Evin Grant]

It's really amazing the diffrence between well processed and poorly processed Red images.

[Mark L. Pederson]

It's really amazing the diffrence between well processed and poorly processed Red images.

What I have found is - "linear light" is my new best friend.

[jbeale]

I think some kind of simple best-practices process needs to be written up by someone soon, either inside Red or outside. It looks like new skills are necessary to really make Red work well- no one benefits if people are getting noisy images from preventable exposure or processing mistakes.

[Christopher Barry]

Any further info? Anyone?

[Mark L. Pederson]

I think some kind of simple best-practices process needs to be written up by someone soon, either inside Red or outside. It looks like new skills are necessary to really make Red work well- no one benefits if people are getting noisy images from preventable exposure or processing mistakes.

I do think a it is in Red's best interest to make a basic, simple recommended practices for "processing" .r3d files. Bear in mind, the software tools are changing fast. My opinion is that the tools have not yet "shaken out", meaning that in as far as there will always be updates, when you get more than one build in a quarter, you are very much in active development.

That being said, I have gotten a few phone calls and emails from other camera owners, and it's apparent that not everyone even reads the material Red is emailing or including with the software builds.

Bottom line is that REDUSER is the on-line community for Red. Until next week - tha ACTUAL RED"USERS" was pretty dman small number. Over the next month or so, I think you will see TONS of suggestions and techniques on this forum.

Other folks are also creating on-line training and resources sites outside of RED and REDUSER.

[Roberto B]

where's the real footage offh..?

[Mark L. Pederson]

where's the real footage offh..?

Lots of footage being mastered to Blu-ray disc and 35mm this coming week.

Moving as fast as we can.

[Emmanuel Cambier]

tss…tss…
The question was : where is the real footage, you teasing b...... :)

Emmanuel

[Mark L. Pederson]

tss…tss…
The question was : where is the real footage, you teasing b...... :)

Emmanuel

what is "real" footage?

[Emmanuel Cambier]

what is "real" footage?

footage we can download and drool upon at will…bring it on:nerd:

[Mark L. Pederson]

footage we can download and drool upon at will…bring it on:nerd:

coming on Friday. Lots.

[Andrew Benz]

coming on Friday. Lots.

Mark, I am dusting off a hard drive in anticipation. :)

Thanks for all the goods and verbiage.

Cheers,

Andrew Benz

[Christopher Barry]

coming on Friday. Lots.

Great, thanks Mark.

[Michael Schrengohst]

So Blu-Ray over HD-DVD??
Getting HD DVD authoring tools is
a must. I have looked into Sonic
and know that history. Early
adopters pay and pay.
DVD SP needs a facelift so we
will be able to show RED footage
in it's best light.

[Häakon]

Blu-ray is more beneficial for content creators simply by virtue of the fact that there is more space on the disc. That means greater data storage and the potential for less compression on video content.

We've been through this quite a bit; they are both similar and in many cases (most commercial home video releases, for example) the quality of the encoded content on both formats is identical.

From a practical standpoint, the best reason to choose Blu-ray over HD-DVD from an HD creation standpoint is that there is a vastly larger selection of home burners and media available for Blu-ray; while it is still arguably on the pricey side, we are just now beginning to see the very first HD-DVD recordable drives trickle in.

[Paul Leeming]

On the flip side of that Haakon, Blu-Ray REQUIRES the author to implement AACS copy protection features and regional coding, whereas HD-DVD does not. That means mastering expenses costing upwards of US$2,500 per glass master, to see if the AACS works before replication. From various AVSForum accounts so far, it's taking three or four masters before they get a good one, so you're looking at upwards of US$10,000 just to get a glass master for replication on a Blu-Ray line. Not sure I want that extra expense before I've sold a single copy of my independent movie....

[Häakon]

That means mastering expenses costing upwards of US$2,500 per glass master, to see if the AACS works before replication.
Hi,

I was speaking more from the single user/BD-R point of view than the glass master/replication route. That's a whole different ball of wax - but the encoded video file could easily be used for either format so it's not too big a deal. I wasn't under the impression that Mark was talking about replication, but I could be completely wrong.

As an aside, I was at Fry's yesterday and they're selling single-layer BD-R media for $7 a piece and the drives are now under $600. It's getting very reasonable from a price perspective to edit and burn 1080p material on a single consumer workstation.

[Miltos Pilalitos]

Not sure I want that extra expense before I've sold a single copy of my independent movie....

Maybe you should, as this single copy might be the only one you sell before an idiot converts it to a torrent for everyone to download for free. Last month, sales of some HD-DVD titles reached a new low of 1 for every 4 Blu Ray. Do a little research in internet and you will find that it's full of HD-DVD rips while at the same time BluRay rips are harder and harder to find as the AACS encryption updates for new titles.

If you love your work shouldn't you protect it?

[Mark L. Pederson]

So Blu-Ray over HD-DVD??
Getting HD DVD authoring tools is
a must. I have looked into Sonic
and know that history. Early
adopters pay and pay.
DVD SP needs a facelift so we
will be able to show RED footage
in it's best light.

We are running a series of tests using Sonic's Scenarist HDMV -

[Michael Schrengohst]

Yes, you are at the top end. Are you going to
offer Blu Ray/HD DVD services?

[Mark L. Pederson]

Yes, you are at the top end. Are you going to
offer Blu Ray/HD DVD services?

YES - with a partner on BluRay side -

we will announce soon -

I wanna see the stuff with my own eyes before I sell it -

[Greg Williams]

Shot tons of stuff today - way too much fun - will post footage and 4K tiffs soon - here's a low res teaser - one practical and some candles - that's it -
what t-stop were you at on what lens? You were at 500ASA correct?

[Mark L. Pederson]

what t-stop were you at on what lens? You were at 500ASA correct?
Zeiss Ultra Primes wide open T1.9 - rated at 320 processed at 500

[Greg Williams]

Zeiss Ultra Primes wide open T1.9 - rated at 320 processed at 500
Have you posted the 4k hi res of this image yet?

[dvpixl]

If memory serves, a 1/24 shutter is possible. I feel like I've selected that option before.

I know in DV or HD cameras, 1/24 creates murky, video-ish looks. we see this on COLLATERAL and MIAMI VICE. it seems that filmmakers usually shoot in 1/24 in film cameras but digital cameras behave differently.

I'm wondering if RED looks just as murky or video-ish when shooting in 1/24?

*When I saw this part FILM-OUT at the conference tonight, i thought I saw that same COLLATERAL look to it. what is it? How can anyone tolerate that? It totally destroys the look IMO.

[Brian Harbauer]

If you where shooting 1/24th @24fps on a film camera, there would be no shutter. Which is why it has a "video look" when you do on a digital.

If my memory serves me right, the most you can open up the shutter on a film camera would be 180 degrees, which would be a 1/48th shutter @24fps - because it's only open half the time.

[dvpixl]

right, in which at that point looks film-like on digital. but not 1/24. so why are the pro's all over that thing? it looks horrible.

[Mark L. Pederson]

right, in which at that point looks film-like on digital. but not 1/24. so why are the pro's all over that thing? it looks horrible.

In our case - it was a test - IMHO unless it means you won't get the shot - you don't want to be 1/24 - (unless you want that asthetic)

All the night ext. Suspicion stuff that Brian P shot was all 1/48 for that exact reason - and it is dynamite - and he lights with so few units you wonder why the hell you rent a 10-ton (or bigger) G & E package all the time.

[Mark Allen]

I went through this posting - did I miss where the footage (motion) was posted?

[dvpixl]

no you didn't. But I did attend the filmout screening and I saw a part of this particular shot. there was a closeup and I thought I saw the kind of motion blur that you get from 1/24... i could've been wrong. Mark said they shot this at 1/48 and it was good. So I could've been watching way too close- i was only about 20 feet away from the screen.