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  1. #281  
    Senior Member Daniel Stilling's Avatar
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    Quote Originally Posted by Mark Phelan View Post
    On the contrary, this is a very natural growth for all three companies in my view. To imply Panavision simply slapped a sticker on it is shortsighted. I see it as a very nice blending of complimentary skills and talents from three very prominent organizations.
    Absolutely. What bugs me is from what I've seen from interviews and written material is that Panavision is implying that it's only a RED sensor in the camera and not much more, which clearly isn't correct.
    Daniel Stilling, DFF (Danish Society of Cinematographers)
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  2. #282  
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    I am with you on that Daniel, infact the whole unit is basically a Weapon on steroids, i can recognize a lot DSMC2 design all over the place. RED might be obliged by contract not to reveal any of the details of this but I guess it was all RED's idea and strategy to join up with Industry's "conservative elite" to create an exclusive unit for and Hollywood's benchmark. The next thing to do is to get Tarantino to shoot something on this to get that guy out of his big format film bubble.
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  3. #283  
    Moderator Phil Holland's Avatar
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    Quote Originally Posted by Christoffer Glans View Post
    Maybe we could get the LI color science based on the current OLPF whenever they move on and tweak it for their own OLPF, why let the old color science just lie around
    Quote Originally Posted by Christoffer Glans View Post
    I'm still gonna nag on Red and Graeme until we get it or something similar
    Don't nag anybody. But do read this.

    Quote Originally Posted by Phil Holland View Post
    As for the new OLPF and Color Science that is under development still, the focus is clearly to create something that is exclusive to Panavision, their workflow, and for their customers.

    That's not stuff that ends up in anybody's hands except PV.

    However, it's also some of the reason that people like me don't release our LUTs for that matter. It's part of the service I provide.


    Quote Originally Posted by Christoffer Glans View Post
    Yeah, but I meant with a number of these cameras. Or will there only be a handful?
    Panavision can't so business with a "handful" of cameras. They have an armada of RED Epic Dragons for instance. Triple digits to give you more of an idea. There were/are 8 Weapon 8K bodies on GotG v.2 alone. They will be assembling a fleet. However, there is the added difficulty of creating the 8K sensor. By December they should have a decent batch of them.
    Phil Holland - Cinematographer - Los Angeles
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  4. #284  
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    Quote Originally Posted by Evgenios Zosimov View Post
    .. I guess it was all RED's idea and strategy to join up with Industry's "conservative elite" to create an exclusive unit for and Hollywood's benchmark.
    Perhaps I'm misplacing the credit, but the last time I looked Michael Cioni doesn't work for Red, he works for Panavision
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  5. #285  
    Senior Member Elsie N's Avatar
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    Quote Originally Posted by Phil Holland View Post
    Don't nag anybody. But do read this.







    Panavision can't so business with a "handful" of cameras. They have an armada of RED Epic Dragons for instance. Triple digits to give you more of an idea. There were/are 8 Weapon 8K bodies on GotG v.2 alone. They will be assembling a fleet. However, there is the added difficulty of creating the 8K sensor. By December they should have a decent batch of them.
    Which of course means the 8k queue is being pushed further into the future by this and perhaps other secretive projects involving the 8k sensor. I think in order to make this more palatable to those with the 8k sensor paid for, RED should increase the price for new orders when opened up... that price should re-open for at least $30,000. That makes our $10,000 wait a little more worthwhile.

    Jarred never said the cost of the 8k sensor would be $20,000... he said it would be at LEAST $20,000.
    One camera is a shoot...but four (or more'-) Hydrogens is a prohhhh-duction... Elsie the Wraith
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  6. #286  
    Originally Posted by Mark Phelan
    On the contrary, this is a very natural growth for all three companies in my view. To imply Panavision simply slapped a sticker on it is shortsighted. I see it as a very nice blending of complimentary skills and talents from three very prominent organizations.
    In Dec 2014, Light Iron became a wholly owned subsidery of Panavision.
    Was the camera commissioned before or after this date?

    Cinegear attendees are suggesting that the DLX image will be inherently significantly different from Weapon.
    Panavision mention new hardware that relates to timecode and monitoring and this is being merged with discussion of new colour science.

    So it seems there is a conclusion drawn, that the raw files will have a unique look based on image processing hardware.

    But, is there a difference in the image component of R3D files between Weapon and DLX?

    A new OLPF can only do so much!


    Michael Brennan
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  7. #287  
    Quote Originally Posted by Michael J Brennan View Post
    So it seems there is a conclusion drawn, that the raw files will have a unique look based on image processing hardware.
    This conclusion would be incorrect.

    Quote Originally Posted by Michael J Brennan View Post
    But, is there a difference in the image component of R3D files between Weapon and DLX?

    A new OLPF can only do so much!


    Michael Brennan
    The difference in an image from Weapon vs. DXL is subjective color processing and ultimately a choice of OLPF. And of course ... PV lenses :)
    Mark L. Pederson
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  8. #288  
    Quote Originally Posted by Mark L. Pederson View Post
    This conclusion would be incorrect.



    The difference in an image from Weapon vs. DXL is subjective color processing and ultimately a choice of OLPF. And of course ... PV lenses :)
    Mark,
    For clarity, where in the image chain is this subjective colour processing applied? Is the raw component of the the R3D files the same between Weapon and DXL? (Flags and encription to one side)


    Mike Brennan
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  9. #289  
    Quote Originally Posted by Michael J Brennan View Post
    Mark,
    For clarity, where in the image chain is this subjective colour processing applied? Is the raw component of the the R3D files the same between Weapon and DXL? (Flags and encription to one side)


    Mike Brennan
    RAW is a bunch of numbers. And a header full of meta-data. When you debayer - you apply a color matrix - pre-gamma. These can be different for different OLPFs. And you could make a subjective matrix - but better in many ways to push the subjective stuff downstream from the matrix IMO.

    Meta-data in the header can signal processing app to use a different matrix, gamma or color space.
    Mark L. Pederson
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  10. #290  
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    Quote Originally Posted by Michael J Brennan View Post
    Mark,
    For clarity, where in the image chain is this subjective colour processing applied? Is the raw component of the the R3D files the same between Weapon and DXL? (Flags and encription to one side)


    Mike Brennan
    when debayering via the RED SDK... there will be LI option for DXL footage, same as there is now a DC1/DC2 option....
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