jgharding

Haha happy to help! This drove me mad once a few years ago, took me a while to crack what was happening!

I have a Vive on preorder on the way soon, so will definitely try this out!

Reds are plenty sharp enough for me. There's no sharpening applied to the raw, you can select sharpening in standard red debayer which isn't great, or apply your own. Consumer cams use a ton in camera and compress the shit out of the data. Sharpening is part of trying to get detail back from a bayer array. Here's a short test. I was going for Emmanuel Lubezski plus cats LOLOLOL!!!1one!!1! 1st shot 4K 25fps, 2nd shot 2K 50fps. So yes the second shot is cropped in. It's not that noisy, certainly not unmanagable at ISO800 here. I think it was 60mm Macro

If the old file path is still visible it likes to go back there. Rename the old folder while delinking to the new location.

I'm no technician but do have experience. red goes earlier on Canon, Blue goes out horribly on Sony... (Try a blue LED) And guess what, those are the tones each is known for. I'm not sure which part of the analogue or digital pipeline is responsible for this, but do know it's what happens. A bit of a WB tweak or a saturation drop can help. On Canon the WideDR profile is nice. Sony I don't know as I sold mine. Because it all looked blue.

Hmm interesting topic, I'll follow it Perhaps the enclosure translates between sata and USB3 poorly, and you could find a better enclosure with different controller chip? Must be a tech review site somewhere...

Never seen those diopters before! :O

M Carter makes a good point there: I got one for a film project, as in feature, as it's cheaper than hiring when you include all the testing etc. So do consider why you want a cinema cam. They are brilliant images and the fact that you can now own them is quite amazing. They are also rather temperamental things that were designed to be used in a professional environment where they can be serviced and so on. Be sure to think it all thorugh! Scarlet is less likely to go wrong IMHO, but you will need more stuff. At least a v-lovk or goldmount battery plate and batteries, as redvolts won't last, and some more media, which are very very expensive. One should remember though: only Red have Redcode, and that's still the best for 4K footage. MANAGABLE FILE SIZE RAW MAYHEM!

Well it's not just supposed to be... It is the same sensor!

haha yeah TBH I'm not a scientist, so it's all second hand info, i just know it looks better!

Scarlet is nicer to use, but you'll need to add more kit to that package. It can do 60fps in 2k crop. 4k tops out at 30fps. The One package is very complete, can do higher speeds (120fps 2K crop) but is obviously even older and bigger. Both are sill very much relevant. The image still knocks seven shades out of most consumer gear, we're talking 4k raw here. But of course they're big and bulky and not very friendly to the wallet once you start adding bits. you'll have to make the call. I went Scarlet despite the lack of high speed, just because it's smaller and easier to use. A handheld setup in a cage can vary from 5-7kg though so know what you're getting in to! Good luck!

I'm fine with perople having access TBH, I think it's poor content that doesn't do a format justice, and that can be created by productions with vast budgets. but I agree that half the adverts shot on anamorphic at the moment look silly. It's really distracting and totally out of context, looks like the DOP is indulging a lens fantasy rather than shooting appropriately for the content. Domestic situation with mum opening crisps IN 65MM ANAMORPHIC!!!!11one!!1

They match well under these conditions! The left-hand camera has rendered the reds in the lipstick with more blue so I'd guess Sony, but it's evidently not so hard to match them when they're not being used at extremes, that's good news.

This matches my experience recording C100 with Ninja 2. I was using DNxHD 220x which is 10-bit, and was thinking "is this somehow filling in the extra bits?!" But it isn't, the output is 8-bit, it's just having so much more data really helps.

Amazing that there are so few in the world! I'm sure one day such sensors won't be so expensive.

Thanks for clearing that up, I knew i was rusty. Still, it remains a fact that red comes out far more blocky than blue, so I'm guessing all of it as at play at once: chroma subsampling, blue sensitivity, bitrate priority and so on... Even using Redcode raw with a red camera things are nicer at daylight balance. I think most sensors and processing pipelines are just optimised for it. Red's web site has a good description of what';s going on which I should have read before posting: http://www.red.com/learn/red-101/video-chroma-subsampling

Please do, I'd be interested to see

I'm a bit more relaxed today than when I wrote that first post - production stresses!!

Yes, this is due to chroma subsampling. in 420 footage the 0 is the red channel. It is encoded with (Im rusty here) one quarter the resolution of the luma channel and half that of the blue channel. Red is not prioritised. my exact number details could be rusty, but this is what's going on. The edges of red out of focus lights will show you just how fuzzy things can get. the more red your balance, the lower the resolution of your image. when I used to use Canon 600D I used Visioncolor, which is a profile that enhanced blue, and used to balance cool. I also used a hack that upped the bitrate a lot. If you shoot very warm with and 8bit 420 codec then yes things are more likely to fall apart if pushed around. so if in doubt cool/green it a bit would be general advice. HOWEVER I've got rid of all my Sonys because I hated the colour, and the endless grading just to fix problems, so perhaps trying to go cool and green will just ruin your footage: you can but try!

LEL! My Scarlet standard setup is 7kg with a small prime lens. So if i can I'm happy to use a little camera, if I don't need the nicest image quality. Every Red should come with a set of these: *** In this situation battery life would be a real problem, as batteries massively underperform in freezing conditions. You'd need a huge sack of them for an SLR. I'd definitely want to run with big goldmounts or v-locks, and yes 10-bit at least for smooth transitional tones.

C100 appears to capture over 100 into super. Using it in Premiere you can just pull it back, it's not a hard clip, that's probably the float engine at work. It's really useful. You'll probably lose that when you transcode I'd guess. I wonder if "full range" in 5D2RGB is pushing that down into a 0-100 file, hence the look? 32-bit in AE sees it all, slows working down though. I often work in 8-bit, occasionally check 32, and render in 32. Ah I missed that, sorry. Yes if you're having trouble with Mercury I'm sure ProRes will be easier on the system.

They still have their place in shoot arsenal, although I don't use them for video since the XC10 came out.

Ah I have paid so should be fine, thanks!

I was thinking dropbox but do they have bandwidth limits for public downloads? Between a gig and two

What's the best online host for big files to keep links alive? I have a few Amira clips so y'all can compare with a few other cams.