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  #1 POWER OF RED 
    Fire Chief Jarred Land's Avatar
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    Most of you that are here already know all this... but we still get calls every day asking what the benefits are for shooting on our cameras are so we put together a little video and a quick webpage together on RED.COM explaining some of the benefits of shooting RED.

    http://www.red.com/power-of-red



    It's pretty much the same info as Mark Toia's video from a few years tells so well, just in a more condensed, short attention span form :)

    enjoy.
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    Senior Member Ryan Sauve's Avatar
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    Hey Jarred, any chance stabilization can be done in the future using gyro metadata captured in camera? Is that even possible? A la SteadXP but as a plugin for the major NLEs?
    Ryan Sauvé | @sauvedp
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    Senior Member Mark Phelan's Avatar
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    Not a doubt in my mind. Everything you mentioned in the spot is something I've taken full advantage of. The ability to recrop from a 4K to a 1080 image was an eye-opener with my RED One. Stabilization, check. All of these are wonderful features along with a fantastic codec.

    Keep it up!
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  4.   This is the last RED TEAM post in this thread.   #4  
    Fire Chief Jarred Land's Avatar
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    Quote Originally Posted by Ryan Sauve View Post
    Hey Jarred, any chance stabilization can be done in the future using gyro metadata captured in camera? Is that even possible? A la SteadXP but as a plugin for the major NLEs?
    The data from the accelerometers inside the camera is already in the R3D Metadata. People have used it in VFX and adobe has made it work and of course all other nle can as well.
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  5. #5  
    A simple extract of gyro raw data from a r3d in rcxp into a simple txt file would be much apriciated by many Im sure. The current way of getting the data via redline comandline in a shell, is likly just utilized by a few.
    Björn Benckert
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    Quote Originally Posted by Jarred Land View Post
    The data from the accelerometers inside the camera is already in the R3D Metadata. People have used it in VFX and adobe has made it work and of course all other nle can as well.
    For better/quicker IS, though? Cause that'd be dope!

    Also, it'd be even more rad if you guys could enable it in RCXp/SDK as a "stabilization" slider (in all DSMC1+ footage, no less) to be like the C500mk2's or FX9's "IS" (as that essentially sounds like the same thing, as neither are physical IS, but it's presumably done using via metadata.)
    Last edited by Mike P.; 10-01-2019 at 01:10 PM.
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    Senior Member Aaron Lochert's Avatar
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    Something we were talking about over on the FB group for DSMC2 owners (which might be another useful point to put on the website) was about multiple aspect ratio deliveries.

    Timur brought up how 8K on Helium was perfect for him when it came to delivering projects with social media/mobile phone screens in mind because he's able to use the real estate of the sensor to do a multi-aspect ratio composition with a 6K 16:9 extraction and an 8K (height) 9:16 extraction, essentially allowing you to open up the matte on top and bottom to get more vertical height without having to crop in so far on the sides for the mobile phone version. If you don't have time to compose two different versions of the shot, the high resolution seems like a lifesaver.

    Kinda reminds me of how the old GH2 worked, although that was more for maintaining image circle coverage. Would love to see RED explore that idea someday. Perhaps take Helium's pixel pitch, make a 36 x 36mm, 10,000 x 10,000 pixel sensor out of it. Extract just about any image you want, FF35 width in both horizontal and vertical dimensions of the sensor, or use the 10K to extract an 8K stabilized image which can then be downscaled to a true 4K RGB delivery. I think I might be on to something...
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    Quote Originally Posted by Aaron Lochert View Post
    Something we were talking about over on the FB group for DSMC2 owners (which might be another useful point to put on the website) was about multiple aspect ratio deliveries.

    Timur brought up how 8K on Helium was perfect for him when it came to delivering projects with social media/mobile phone screens in mind because he's able to use the real estate of the sensor to do a multi-aspect ratio composition with a 6K 16:9 extraction and an 8K (height) 9:16 extraction, essentially allowing you to open up the matte on top and bottom to get more vertical height without having to crop in so far on the sides for the mobile phone version. If you don't have time to compose two different versions of the shot, the high resolution seems like a lifesaver.

    Kinda reminds me of how the old GH2 worked, although that was more for maintaining image circle coverage. Would love to see RED explore that idea someday. Perhaps take Helium's pixel pitch, make a 36 x 36mm, 10,000 x 10,000 pixel sensor out of it. Extract just about any image you want, FF35 width in both horizontal and vertical dimensions of the sensor, or use the 10K to extract an 8K stabilized image which can then be downscaled to a true 4K RGB delivery. I think I might be on to something...
    One of the things announced at IBC was that Adobe was utilizing a "Smart Aspect Ratio" filter that would maintained subject matter centre frame independent of delivery AR (it'd basically automatically keep the subject in the centre whether it was 16:9 or 9:16)... very cool.
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    Senior Member Aaron Lochert's Avatar
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    Quote Originally Posted by Mike P. View Post
    One of the things announced at IBC was that Adobe was utilizing a "Smart Aspect Ratio" filter that would maintained subject matter centre frame independent of delivery AR (it'd basically automatically keep the subject in the centre whether it was 16:9 or 9:16)... very cool.
    The demo I saw of that didn't look too promising to me. Things that were integral to the shot were cropped out. The one example out of that Adobe demo that made me literally laugh out loud was the girl dancing. The 9:16 version decided she was no longer relevant to the shot and instead framed a shot of a bystander. Same with the guy with his kid in his arms. The 9:16 version totally crops out of the kid -- but the kid was the whole point of the shot.

    Part of that is because they were using material with that locked-in vertical height. But the other part was because the DP of those shots clearly wasn't ever intending to have a 9:16 composition be made from the material they shot. If the DP framed the shots with the 16:9 center extraction like Timur is doing, they could open the matte vertically and not have to crop in so far left/right. Not to mention, Timur is also framing for the vertical aspect ratio too. I don't think AI is going to be able to save you unless you had the vertical aspect ratio in mind from the beginning.
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  10. #10  
    Senior Member Tom Gleeson's Avatar
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    Quote Originally Posted by Jarred Land View Post
    The data from the accelerometers inside the camera is already in the R3D Metadata. People have used it in VFX and adobe has made it work and of course all other nle can as well.
    Jarred did you use the in camera gyro information to stabilise the shot of the girl in the "Power of Red" video? Sony with their FX9 is doing a similar process and taking the Gyro information in their Metadata and then apparently the Sony Catalyst Browser will then interpret this data to stabilise the footage. It is a shame that RedcineX cannot do the same and the other workflows seem so opaque. Is there a White Paper or video that show how people go about stabilising footage from Red cameras leveraging the in camera Gyro information? The DSMC2's gyro data seems to never have been properly exploited a mistake Sony doesn't seem to be making. It does remain to be seen how well this stabilisation feature works with the FX9 as Sony software is rarely as good as their hardware. I have been promised early access to the FX9 so I will test this hopefully next month.
    Tom Gleeson
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