Cinema camera or Video camera?

[Jannard]

There are a few ways to make your RED ONE look like it has 7 stops of dynamic range... two primary ways.

1. Over-expose. Just clip the highlights while you record and there won't be any need to screw up anything in grading. This is the easiest way to turn a Digital Cinema Camera into an ordinary looking video camera (although you will still have more resolution).

2. Grade it improperly. Use ISO or exposure to set the mid-grey (or make most of the image look right) in RED Alert!, REDCINE, Scratch or Final Cut... without any regard for the histogram. Let the highlights go because the "middle of the image looks right". Don't use a curve to pull up the middle because that would hold the highlight you wish to blow out. Clipping is an art. If you can get really good at it, you may also learn what not to do "just in case you want the full info for a specialty shot".

As has been pointed out, the RED ONE does not have as much DNR as film. While most people think it is plenty to work with... it certainly does not if you throw away info.

Here's some good news. We are here to help. Build 16 makes it MUCH more difficult to miss exposure. And REDspace does a great job of helping to see your image without tempting you to make grading errors.

There are some of you that are saying "I don't do that. I know exactly what to do and how to get the most DNR with my RED ONE". OK, then. I'm not talking to you.

Here is an example of how to get an image to clip with one grading button.

I know... this grab is not that sharp. That isn't the point here...

Jim

[conrad gaunt]

Is there ever any chance of getting the full 12bit sensor data out of redcine in a DPX, I know 10bit log doesn`t lose much useful data, but I agree with you about not throwing it away?

[Graeme Nattress]

That's a great example Jim.

Graeme

[Graeme Nattress]

10bit Log or Gamma encode from a 12bit source does indeed loose you some code value precision. However, it does so from the brightest stops where you have an over-abundance of code values, and hence, if done correctly, does not diminish the image quality in any meaningful way.

Graeme

[10s]

Do you mean I have to actually use the camera properly? that's crazy!

I've thought for a long time there is a need for a special DVD on how to properly use the camera. It should go out with every unit.

[mrmuccy]

Jim,

Can you tell me about the wavelette compression you're doing & where it is introduced in the image chain? I'm wondering if this is connected to DNR? Although I imagine its after the AD conversion.

[I Bloom]

Jim,

Did you just bust out some build 16 preview frame grabs!

IBloom

[Jannard]

We are constantly amazed at how much footage we see being "roughed up" during grading. More than we see over-exposed. I think it is safe to say that much of the "RED footage looks like video" and "I see so many clipped highlights" are a result of grading. RED RAW footage is not like film, in an inverse way. With film, the tendency is to under expose a negative to keep the shadows from blocking. RED RAW footage is exactly the opposite... which I'm sure has contributed to some difficulties.

Build 16's primary goal is to help our customers make easier decisions that produce better results. It is a major change in how to shoot and grade RED footage.

Jim

[Jannard]

Jim,

Did you just bust out some build 16 preview frame grabs!

IBloom

Nope... old Build 12 or 13 footage.

Jim

[Graeme Nattress]

With RAW recording to R3D files, the process is simple - we take the RAW sensor data, and pipe it into the wavelet compression. It does not effect dynamic range at all, being 12bit as the sensor is 12bit.

Graeme