"True Nature" sample Tiffs are up...

[FordPrefect]

Finally got ahold of some 4K Tiffs from the recent feature "True Nature"! (see my previous posts for additional details about the shoot)
Am still looking at getting the early 2K trailer posted as well.
As for the pics, these were shot on RED's #15, 16. No color-correction, save for original on-set metadata settings. ASA settings for the shoot varied from 500 up to 1000 ASA (as we found in our tests, the added noise/grain in the image seemed to suit our story). Zeiss Superspeeds were used through-out, as was a 1/4 Black Pro-Mist.
For those who've seen the "1st 100" RED Demo reel, you might recognize some of these shots...
Merry Christmas and Happy Shooting!

[IAN SUN]

link?

[FordPrefect]

Sorry guys, no go. Have tried several times. Keep getting a "not sufficient privileges" message. Gonna try to post them elsewhere and provide a link.
Apologies to all!
(anybody hazard a guess as to what I'm doing wrong...?)

[ChrisLyon]

you'll have to host them elsewhere.

[FordPrefect]

Sorry for the delay! Here's the link to a collection of 4K stills from the recent REDfeature "True Nature":

http://www.marcofargnoli.com/

(if you end up on the home page, just click on the "REDpage" link at the top)

[Radoslav Karapetkov]

Very nice. It might sound illogical but I like the noise [in this case].

Waiting for the trailer...

[dalemccready]

nice lighting

[Álex Montoya]

Very noce pics, tho' there's no tiffs, right?

In the alley one, I wm pretty sure that a more natural transition to blown out highlight can be achieved lowering a bit the exposure and touching a bit the curve, everything in redcine.

[FordPrefect]

Yeah, unfortunately when posted, iWeb converted them to jpg. (I should go back and change the thread name!)

And yep, in the alley shot the info is all there (thanks to the magic of RAW). At ASA 800, you lose the info in the sheen on the wall, but at lower ASA's it's all there. I always cringe posting anything straight from camera, but I'm guessing we all want to see how it's reacting to more extreme exposures.

The noise/grain is definitely there in the low end, but like high-speed film grain, it looks much more organic and textural when moving. We shot tests in preproduction, and screened them at 2K in the great DI projection suite at Cineworks in Miami, and decided that 640 was a good safe spot for a little "grain". Of course, in the heat of production, you sometimes need a little more help on the exposure side for whatever reason, so we knew we had freedom to go to 800 (and even 1000) and still be acceptable for our look.

[Álex Montoya]

Very interesting. And very nice grabs indeed.