 |
 |
|
|
|
|
 |
(Page 1 of 1 pages for this article )
Wednesday, April 09, 2008
RED Build 15 Flesh Tone Latitude Test (under tungsten light)
Art Adams | 04/09
RED ONE Build 15 Flesh Tone Latitude Tests (tungsten)
In my quest to figure out just how much overexposure latitude I can get out of a RED under tungsten light, I decided to do a test with a flesh tone reference and a RED with build 15 loaded. It turned out to be almost a completely different camera.
Previously I was only able to see two stops of overexposure latitude on a Kodak 18% gray card under tungsten light. That was using build 14. This build seems to yield 3 stops of latitude before clipping flesh tone, which already has more red in it than a gray card. Also, instead of the red channel clipping and causing highlights to turn cyan until the other channels clipped, I see no indication of that at all now. The clipped highlight is very clean and holds color a lot longer than I expected.
On top of that, the DRX highlight recovery tool in Red Alert now seems to cause more problems than it solves. When I used DRX on these clips they turned green, the exact opposite of what they’re supposed to do—which is to take red channel clips that have turned cyan and use the other two unclipped color channels to rebuild detail in the clipped channel, while using the white balance meta data to blend all of that into a neutral highlight.
I don’t know what they did to keep the highlights so clean, but I’d be willing to take this camera into a real world situation now. The only thing that bugs me is that the red channel, which used to be the cleanest color channel by far, now seems very noisy. Maybe that’s a side effect of whatever was done to clean up the highlights.
(Page 1 of 1 pages for this article )
Art Adams | 04/09
There’s one color that will always bother us if it’s wrong: flesh tone. We tested ten common LED lights against a tungsten Inkie and a Kino Flo… come see the results!
Color comparison tests are hard. Color science is witchcraft, and objective color is exceedingly difficult to quantify. Comparison is really the only way to judge color, so we tested ten LED lights against two tungsten Tweenies and a 3200K 2’x4…
|
Art Adams | 04/02
A dozen lights, an Arri Alexa, an intrepid crew… what could go wrong? Lots, which is why we had to work extra hard. Tests are never easy, and comparison tests are among the hardest of all.
“LED Light Shootout” sounds so dramatic, as if a collection of motley illuminants met in a dusty western town to settle their differences with bullets instead of marketing. It’s actually tedious, mind numbing work… and a real…
|
Art Adams | 03/30
Cameras used to be SOOOO boring. Now every new camera is a mystery to be unfolded: What does it do well? What tweaks can make it better? Here is my first C300 article that addresses these questions…
I’ve shot a lot of web and broadcast spots on the Canon 5D and while it makes pretty pictures the controls are very limited. It’s also not a camera that can be used quickly. At the moment the Canon C300 is a bit of a mystery to me: before…
|
You must be registered to comment. This is an effort to reduce spam. Please REGISTER HERE.
Those are exactly my findings as well. We did a three camera comparison with the RED, the HVX200, and 35mm, to see how far we could push over exposure. We are still waiting on the 35 footage but the difference between the HVX ad the RED was amazing. After just 1.5 stops with the HVX we were getting into the danger zone. The RED could take 3 stops over exposure and still pull back great flesh tones! Stay away from 4 over though, anything after three quickly becomes unusable. But still, 3 stops over?! Awesome…
Posted by Tim on 04/11 at 01:05 AM
|
 |
|
|
 |
|
 |
|
|
Art Adams | 04/09
There’s one color that will always bother us if it’s wrong: flesh tone. We tested ten common LED lights against a tungsten Inkie and a Kino Flo… come see the results!
Color comparison tests are hard. Color science is witchcraft, and objective color is exceedingly difficult to quantify. Comparison is really the only way to judge color, so we tested ten LED lights against two tungsten Tweenies and a 3200K 2’x4…
|
Art Adams | 04/02
A dozen lights, an Arri Alexa, an intrepid crew… what could go wrong? Lots, which is why we had to work extra hard. Tests are never easy, and comparison tests are among the hardest of all.
“LED Light Shootout” sounds so dramatic, as if a collection of motley illuminants met in a dusty western town to settle their differences with bullets instead of marketing. It’s actually tedious, mind numbing work… and a real…
|
Art Adams | 03/30
Cameras used to be SOOOO boring. Now every new camera is a mystery to be unfolded: What does it do well? What tweaks can make it better? Here is my first C300 article that addresses these questions…
I’ve shot a lot of web and broadcast spots on the Canon 5D and while it makes pretty pictures the controls are very limited. It’s also not a camera that can be used quickly. At the moment the Canon C300 is a bit of a mystery to me: before…
|
Art Adams | 01/29
Lighting a bounce card is easy, right? Right… IF you know the basics. Here they are.
Is bounce light really just about aiming a light at a white card and walking away? No. There are a couple of tricks to getting the most out of your bounce source, and I can show them to you fairly quickly using…
|
To be considered for listing, contact pr (at) provideocoalition (dot) com
Copyright © 2012, HD Expo, LLC a division of Diversified Business Communications. DBA Createasphere
All rights reserved. HD EXPO, High Def EXPO, Createasphere, E-Tech, Entertainment Technology Exposition, 3D Production Workshop, VariCamp, P2 Camp, ColorCamp 101, and Lighting, Filters & Gels for HD are all trademarks of HD Expo, LLC.
Terms of Use | Privacy Policy
|
 |
 |