Click here to go to the first RED TEAM post in this thread.   Thread: DRAGONolor2 and REDcolor4 Beta and the H20 underwater OLPF

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  1. #21  
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    Keep On Keepin' On Red Team. Love it. Hope you're stayin' hungry.
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  2. #22  
    Senior Member John Marchant's Avatar
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    Great stuff. Thanks to Graeme for his top notch work as always - you guys will really see the improved blue channel and also pure saturated colours are markedly better.

    Looking forward to more OLPF fun :)
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  3. #23  
    Senior Member Sanjin Jukic's Avatar
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    Great!!!
    "There is no point in having sharp images when you've fuzzy ideas."
    Jean-Luc Godard.

    Dynamic range is, after all, the measurement between well saturation (photosite blowout) and noise floor.
    Thom Hogan
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  4. #24  
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    I'm actually interested to see what this does to MX footage... I actually don't mind how the current DragonColour looks on MX.
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  5. #25  
    I'm not really much of an UW bubble blower, but I just love this level of innovation and commitment - it's great to see options being rolled out for the interchangeable OLPF system.

    Nice work and happy holidays!
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  6. #26  
    Senior Member Blair S. Paulsen's Avatar
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    As the last few years of digital cinema development have unfolded, at RED and around the industry, interdependent patterns have emerged that I feel need proper consideration by image makers. In particular, the maturity curves of various factors in the imaging chain. As a simple example, imagine two scenarios: 1) hot new sensor, imprecise/immature color matrix VS 2) older sensor tech with well sorted color/density offsets and tweaks

    There are obviously many more variables in real world implementations, not to mention the unique demands of any given capture scenario. My point is that we may be in an era where the cameraman is best served by an acquisition system that is in it's "prime" - high spec chip with optimized processing. Where in the lifecycle of the system does one have reason for confidence in the processing piece? Part of RED's value proposition is that your RAW files can be processed by ever more sophisticated decoding schemes as they manifest. While the limitations of the chip used (and other variables) remain, it does mean that you can shoot on a "greener" (less developed) firmware base and know that you're not "stuck" with any processing anomalies.

    In any case, I have seen a depth in the Dragon footage that leads me to believe the chip is the real deal and even at this stage the color science for the STH OLPF is producing luscious skin tones. What a wonderful era to be a cameraman.

    Cheers - #19
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  7. #27  
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    I love being able to go back to my 'negative stock' and tweak it with these colour science improvements...
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  8. #28  
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    The FCPX plug-in is causing crashes on my 5K iMac. I applied the Dragon Color 2 to my timeline and that's what did it. They are synchronized clips so they need rendering, some got rendered but most didn't, and now won't without crashing.
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  9. #29  
    It is subtly beautiful on skin tones with the skin OPLF.
    Thank you!
    Jonas

    Showreel
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  10. #30  
    Senior Member George A.'s Avatar
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    Hi Jarred!

    Don't forget about the "35mm film" OLPF (Low Con/Slight Halation) - or call it however you want! :-)
    I just hope you guys still plan to develop it, and hopefully base it on the Standard/MiddleMan OLPF.
    Sometime next year?...

    It looks like a lot of people would buy it.

    http://www.reduser.net/forum/showthr...ON-OLPF-thread

    Cheers and thanks for the updates!

    And HAPPY HOLIDAYS!




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