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  1. #111  
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    Apr 2007
    Jonas, YIKES, not to sound like I'm trying to hurt or feelings or anything but... I mean this in the nicest way possible but your saturation is neon. I know color theory and correction is intensley based on objective decisions and tons of real world experience but...seriously man...The first image (milk girls) has been already available in a corrected or nearly corrected state since they put them online. In that image and the third image from Mike Curtis' website (or at least he hosted that series of pictures from spain) you've not only over over saturated but blown out the upper range of the pictures. I'm trying to grasp at what you point was but I'm having a hard time. Please explain. :)
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  2. #112  
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    Mar 2008
    Well Jenga in my post I said that these were experiments and if you are watching it on different computers you will see different neuances and contrast. I have also been a bit experimental and rough with these and maybe should have pulled the saturation down more.
    The first image (milk girls) has been already available in a corrected or nearly corrected state since they put them online.
    Maybe it is a light grade on it but what is your point? Could you not CC a graded image? Is there a certain rule? Please be more specific.

    The "Spain" image is not blown out but sure it is light in the upper part.
    I think you have to do something about the settings on your display if it gets neon. I can agree is over saturated (in this "experiment" ;) ) but nothing is "neon" on my display. Im on a pc and I have not watched them on a mac but in my experience the mac will show a lighter image than on PC if its not calibrated or gamma corrected. Please do not say it is blown-out if it is not. There is still info in the WHOLE image.
    I'm trying to grasp at what you point was but I'm having a hard time. Please explain.
    If you read my post you will notice that my point is: you can do many different looks with the RED ONE image and get huge amount of info to work with from it. Think my images just proved some of that by making you believe they were blown-out ;) (joking)

    Im saying this in a nice way too so do not take it the wrong way :turned: .
    If you want to give me some hints or tricks of your CC experiences to anyone you are much welcome.

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  3. #113  
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    Apr 2007
    Of course. I was just confused because it seems no matter what display I look at these on, they are beyond what i would consider a normal range of experimentation in the coloring dept. (I've checked it on a calibrated Mac Pro, a default settings PC and even a Wii hooked up to a sony LCD tv) but again, it's all about personal preference and I would certainly assume you are experimenting before i would claim that your own color profile is off or something like that.

    Good luck in your cc explorations :)
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  4. #114  
    Quote Originally Posted by battistella View Post

    It is for this reason I have been asking if a program like Red Alert can have a V-out. Programs like FCP, AE, photoshop, motion, color, or many other third party programs provide a way to be displayed on an output monitor . . .

    1) Monitor out in RedCine, etc., would be great. Also, when relaunching the app, can we have it bring up a project dialog box instead of the current default of loading the last project?

    2) Regarding saved color settings in RedCine . . . when a color preset is loaded, can the name be displayed on screen as the curently applied preset?

    3) In file management in RedCine, can the last directory accessed become the default when loading footage into the library or loading / saving a color settings preset?

    Thanks! Great job Jim and team!
    Color Grading Presets for AE and PREMIERE PRO. You'll also find FREE clips and hi-res background images.
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  5. #115 blue channel noise 
    "The sensor is Daylight balanced. If I shoot tungsten, I still work with a daylight setting in RED Alert! and correct later. Low light will also not yield as good of range."


    Is it possible to reduce noise by using a more blue balanced bulb greater than 5500K?

    Are there tests in low light (night) conditions showing how different lighting temperatures affect low level noise?

    What if 6500K and higher temp bulbs are employed, does this reduce noise more than 5500k, and 3200k?

    Or, is 5500k "daylight balanced" the optimal bulb to use with this camera, period?
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  6. #116  
    Senior Member Paul Leeming's Avatar
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    Dec 2006
    The Netherlands
    5000K is optimal for the sensor. Daylight is pretty close - tungsten, not so close, hence more noise in the channel getting the least amount of light.

    To convert 3200K lighting to 5000K you can use the B-5 gel (may be called something else locally). We've done so with excellent results. Haven't tried Build 16 yet but I suspect that the slightly lower light level with the gel in place will be more than compensated for by the new noise characteristics of the footage. Amazing.... the most film-like digital sensor I've ever seen. Build 16 really is a new camera!


    Paul Leeming
    Visceral Psyche Films

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  7. #117
    "5000K is optimal for the sensor. "

    Is this documented somewhere? Is it true for any dim lighting level? That's my real question. At the lowest levels of light, where the noise is usually a factor on the blue channel, wouldn't it make sense to give it a bit more blue in the lighting?
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  8. #118  
    Senior Member
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    Apr 2007
    Braunschweig, Germany
    Why don't you try some extra noise filtering on blue only? Any good color grading software should offer this.

    Humans don't see that much detail in blue anyway, so perceived resolution won't suffer very much.


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  9. #119  
    Senior Member Mike Prevette's Avatar
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    Apr 2007
    New York, NY
    5000 k Is also the number I've heard from RED. I use a 80C filter all the time under tungsten to correct for it. Dropping it in is like magic as it corrects the imag.e

    "One for a meal, One for the reel, or One to learn something"
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  10. #120  
    5000k is also mentioned in the build 16 Operations Guide.
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