Profile: SC 4.1 250ISO

[Shane Betts]

Yeah, it took ages with me too. I just made sure my real name was in my signature so nobody thought I was hiding. Just seems that for those who wish to be rude or disrespectful to somebody who has put a lot of work and intelligence towards something they're making available to the rest of us for free, it's quite convenient to hide behind an avatar... So, not aimed at you :)

[Sanjin Jukic]

Originally Posted by Shane Betts

Yes, the video guys are used to WYSIWYG and, in my experience, snipe constantly at the Red because the pictures out the monitor spigot don't look Sony enough. They simply can't get their heads around the idea that there is so much more captured than is rendered in the video signal and that that is the power of this thing. They go on about the low chroma and 'milky' look, unaware that those are good things.

What Macgregor is, and others on this forum are, doing is setting up profiles to give video guys, directors etc. a little bit of confidence in the image on the monitor while the DoP goes about his or her business capturing a good strong "neg" for grading down the track. If it was only ever film guys looking at the monitor they would look at framing, mics in shot etc. and move on, trusting their tools and their judgement.

Shane,

agree with you!!!

[TedRed]

I’m explaining to people on a pretty regular basis that the RED is kind of like 2 cameras in one – one camera for low contrast, low DR photography where you can rate from 250 ASA on down as long as you don’t overexpose, and use the Raw View mode in the camera to check the levels, and have really nice imagery – learning to use the histogram on the right side (the right 3rd of the of the histogram scale) for low con imagery can be your best friend...

... and one camera for high contrast, high DR challenging photography where you have a huge range from under to over, and you can expose at 400 ASA or higher, and as long as you don’t clip the highlights, you will be amazed at how much range you have in the mids and shadows to work with... This camera is way more sensitive that people give it credit for under the proper high contrast shooting conditions... Using the histogram from 2/3’s full on down for high DR photography can be your best friend.

The biggest mistake I see people make is letting things blow out because they are worried about the shadows, those shadows can hold clean and gorgeous like crazy – I see it all the time on properly exposed high DR imagery.

If you use REDspace for your overall exposure setting, and use RAW View for checking highlights as you work and check exposures you will have effectively done what MacGregor describes in his Rec709 at 640ASA testing. REDspace for all types of photography can be your best friend, when used in tandem with checking highlight exposure in RAW.

The RED ONE has various “sweet spots” for exposure depending on the various contrast conditions, color temperature of light being used and a number of other creative factors – that’s one of the reasons it’s such a nice tool to work with. The more testing and experimentation a DP has time to do, the more they learn about how far the can push and pull the images to create the look and feel they want – the joy of RAW cinematography.

+ Ted

[Sanjin Jukic]

Well said Ted, thanks for clearing that up!!!

[MikeHedge]

genius Mac

[Sanjin Jukic]

Originally Posted by MikeHedge

genius Mac

Mike,

hope that you and others didn't get it wrong and rush to use of any sort of "instant profiles" because at the end you anyway HAVE TO LOOK at...>>>

It's not so bad to read and learn again from the people who built RED camera:

- REDspace and RAW>>>Stuart English>>RED Workflow Wizard>>>

- Exposing>>>Stuart English>>RED Workflow Wizard>>>

- Colour space>>>Graeme Nattress>>>RED Problem Solver

- The skill of exposure>>>Graeme Nattress>>>RED Problem Solver>>>

- Exposing for the RAW format>>>Rob Lohman>>>Red Team>>>

[IAN SUN]

Thanks Ted that's perhaps the clearest discourse on exposing the RED ONE that I've read.
Mind if I quote you?

[TedRed]

sure... quote away :-)

+ Ted

[Tim Sutherland]

Yes, Ted, thanks for that clear explanation.

I think that what I was trying to do with the profile I am creating (and maybe Mac as well, although I don't want to speak for him) is to have a little of both ways. The profile allows for more of a wysiwyg monitored output, while at the same time letting you take advantage of the ability to pull detail out of the shadows by moving the middle gray a little darker. Then, you can match your lighting to your meter with consistency, and also have more detail in the highlights than you can see.

Regardless of how you set up the camera, the good news is that as long as you're aware of what you're doing, you can know that you certainly have more information in some area, whether it's the highlights or in the shadows, that you can 'pull down or up' to get a better picture than you can see on HDSDI output. And there is no good profile for all settings, as a tungsten profile requires adjustment to the blue channel levels independently that may not work so well in daylight. But if you know what you are doing to the camera, and you know what the camera likes, I think you can have it a little of both, you're getting what you see, but you're also getting more.

That's more than a lot of other cameras can do for you. And I think that's why I prefer to shoot RED when I have the option.

[Frank Martin]

We installed SC 4.1 and we are gratefull!
Only question is " is there a way to indicate
On the LCD/EVF that the look has indeed SET
It seems the LOOK didn't always apply when
We imported off SD card and always when
10 people were staring at you. We had to jack up
Color on another look to toggle back and fourth
To verify and this is too time consuming
Any help would be appreciated as this topic is the biggest
issue we have in field