Hunter Richards

I have been a hating skeptic sense this stupid Red one was announced...I do have to say though... I now own one and Strongly, Really, Really, REALLY like it! It takes cleaner, "better" looking pictures than my DSLR. The horror stories I have read about dont seem to be evident. Its easy to use too, no rocket science!...but Best of all, I could actually afford to buy a camera that should have cost me more than $100+ grand! Thanks Jim and the Red team for making this happen!

__________________
HR|cinematographer
HunterHRichards.com

Oleg Kalyan

Тhat's great,
one thing that stops me from getting in line,
really restricted DD/latitude, the whites, blacks clip really easy, from what I've seen,
do you happen to have a clip or two showing a decent latitude, rich colors, I couldn't find any,
Really appreciate!

Peter Moretti

Oleg,

I don't own a Red and am not one their sycophants. But can you please show me any non-rental-only digital cinema camera that has truly good lattitude?

Oleg Kalyan

I really think Cinealta, Varicam have both a great latitude, better than REd imho.
Red is sharper in 4K

Brian Drysdale

You could buy a F23 (13 stops according various people), somewhat more expensive, but it's not like a Genesis, or Arri D20/21 or Dalsa, which are purely rental. Althoiugh, The Arri D21 might be a possibility in the future.

The SI 2k came out better in a test with the early RED, how they compare now I couldn't say. Interesting to find out after the much awaited build 16 comes out

Hunter Richards

Having used the Varicam, I can tell you Red absolutely has more lattitude (Not saying the varicam donesnt take nice images, it does!). I think the problem with judging Red footage online is that, because its new and because you have a lot of different people showing footage,(and because the odd's are that there are some serious gamma & color variances from compter screen to compter screen), the results widely vary. I have seen lots of Red footage online that doesnt look very good, with blown out highlights and crunchy blacks, either thats an asethtic choice or possibly the users error. After viewing the 12-bit RedRaw footage with the Red log LUT in Red Alert (or Red Cine), I think you will be amazed at the actual dynamic range this camera is recording (Also remember that most of us are viewing this on 8-bit LCD computer monitors). This is still a new way of working for most of us, I suspect as more people learn how to shoot Red (and expose for Red) your going to see more and more excellent footage. As for me now, I am still learning how to use this tool.

Some beatutiful Red footage:

http://www.mammothhd.com/MHD_RED4.html
(small quicktimes, but I think you get the idea)

Here is one in particular where the extended lattitude of the Red is noticable:
http://www.mammothhd.com/XRED1/REDL1...St4_r0037.html
(again this is just a small quicktime, but look at the jpeg image. Do you notice how deep you can see into the shadows? The sun light seems to be very strong, yet even though you can see all the way into the shadows, all of the highlights (and the white sand) are maintained.

__________________
HR|cinematographer
HunterHRichards.com

Meryem Ersoz

The tool is so new that many people are posting under-processed footage to judge the clippy highlights. You can pull way more out of the highlights than the original R3D file indicates.

Unfortunately, RED seems to be developing a reputation for clipping and low latitude because they have not done a good job about educating their users about how simple it is to recover this data.

I posted some stills here, which show the difference between unprocessed footage, and footage in which the highlights are recovered through post-processing--basically the push of one button. The difference is dramatic:

http://www.dvinfo.net/conf/showpost....55&postcount=6

Oleg Kalyan

Meryem, Hi!

Do you actually have a clip or a screenshot that somehow represents a good latitude of RED ONE?
Hunter Richards gave a link, it's too small to really see anything, I got the idea , still would love to see a little more.

Cheers!

Brian Langeman

http://www.mammothhd.com/MHD_RED5.html

That's bigger than I think what you were looking at. If you'd just look around a little bit on the Mammoth HD site you'd find it. Anyways, there's some pretty amazing footage shot with the RED on their RED reel #1 and #2.

About the education part of things, if you do enough digging around you can find all the info on REDUser.net and this is a good link to info too, http://www.selfreliantfilm.com/?p=328. Also, FXPHD is doing some REALLY good classes on the production and the post-production side workflow for the RED. So, soon more and more people will be understanding how to recover some of the highlights, and learning to treat the R3Ds as more like the raw negative before being scanned.

You can also check out www.redrelay.net for lots more clips, and even some of the RAW R3D files you can download. You can download Redcine from here http://www.red.com/support and then work with the R3D files and process them to see what you can get out of them. That's essentially like working with your raw negative footage, which is pretty amazing considering you can send your "negs" now across the world over the internet.

Bill Koehler

Another example of RED footage:

http://www.apple.com/quicktime/guide...moth_red2.html

Henrik Andersson

Wow, that sounds too good to be true :-)

I'm probably going to get a few RedOne or Epic but I've never thought they would beat even APS-c sensored DSLRs in pure DR and image quality.

Btw, any side by side comparisons? ;-)

/Henrik