Tak to vypada, ze v roce 2010 to konecne vyleze, tady je srovnani ISO500, ISO1000 a ISO4000:
http://www.redgrabs.com/up/1261394278.jpg
http://www.redgrabs.com/up/1261399761.jpg
http://www.redgrabs.com/up/1261454465.jpg
Printable View
Tak to vypada, ze v roce 2010 to konecne vyleze, tady je srovnani ISO500, ISO1000 a ISO4000:
http://www.redgrabs.com/up/1261394278.jpg
http://www.redgrabs.com/up/1261399761.jpg
http://www.redgrabs.com/up/1261454465.jpg
A teraz nám už iba prezraď že o čom je reč...Citace:
Původně odeslal Špeta Marek
ze by to byly vystupy ze snimace z kamer o kterych je tu rec? :rolleyes:Citace:
Původně odeslal e1
Tady je prvni video ve 2K ISO800:
http://red.cachefly.net/snappy.mov
tabulka osvetlena pouze iPhonem ISO4000 f2.4 1/48:
http://www.redgrabs.com/up/1262067629.jpg
a svickou
http://www.redgrabs.com/up/1262027107.jpg
konecne cele pohyblive obrazky, moire ve videu je zpusobeno resizem z 4K:
http://red.cachefly.net/M-X-REEL.mov
Vypadá to dobře, ale co je na tom technicky tak speciálního? Jinak když vidím titulky, tak to je slušná produkce, asi víc lidí než průměrný český celovečerák, ne? :)
Myslim ze ucel tohoto showreelu je ukazat jak je na tom "Rolling Shutter" a hlave lowlight, viz screeny co jsem postoval vyse, muzu sem klidne nahodit, 4K RAW screen s tim borcel osvicenym jednou zarovkou. Kdyz jsem to dal do Photoshopu a jas zvysil 3x, tak jsem videl nadherne celou mistnost, bez sumu...Citace:
Původně odeslal jan555
Ty titulky jsou tam dlouhe pac, tenhle senzor maji na testovani tymy z celeho sveta a od RED dostali ukol natocit kazdy neco... prvni celovecerak co se s tim ted toci je ten novy film Finchera o Social network, ale to je jen vymeneny senzor v klasicke RED One...
Dej sem pls ty odkazy a nějaké specky toho snímače ... Díky.
http://www.lightirondigital.com/Ligh..._4K_STLLS.htmlCitace:
Původně odeslal jan555
v prvni casti jsou screeny z toho videa ve druhe casti to srovnavaji s predchozim snimacem z RED ONE.
Finalni specifikace se jeste taji ale tohle jsem vyhrabal, spis je to neco co ta kamera pri snimaci 5K bude zvladat:
New MYSTERIUM-X 5K sensor
5K (2:1) at 1-100fps
4K (2:1) at 1-125fps
Quad HD at 1-120fps
3K (2:1) at 1-160fps
2K (2:1) at 1-250fps
1080P (scaled from full frame) at 1-60fps
Increased Dynamic Range, reduced noise
Time Lapse, Frame Ramping
REDCODE 250
ISO 200-8000
New FLUT™ Color Science
ten dynamicky rozsah je pry 13 stop, ale presne si to nepamatuju, kdybys nevedel neco co je, tak muzu popsat :-)
Ak dobre chápem, tak 4K, Quad HD, 3K a 2K sú výrez zo stredu snímača, tj. niečo ako FX zrkadlovka v DX režime? Ak áno, tak potom nechápem 1080P režim na čo je dobrý, keď podporuje iba 60fps. To radšej pracovať v Quad HD alebo väčšom rozlíšení a dodatočne zmenšiť na 1080p, nie?
Ešte by ma zaujímalo čo je ten Frame Ramping a Redcode 250. Môžeš to vysvetliť?
co jsem pochopil tak ten 1080p je tam jen pro podporu standardu a asi uz to nebylo vhodne na vyrez, tak se to zmensuje a proto uz by to asi operacne nezvladal s vyssi snimkovosti... dokazal bych si to predstavit, treba pokud s tou kamerou bude nekdo natacet nejakou rodinnou oslavu... neni nutne natacet v 5K nebo 4K...Citace:
Původně odeslal e1
Frame Ramping... tohle je nejlepsi vysvetleni... videls film 300? Jak se tam mlati a zabery se plynule zpomaluji a zrychluji... tak to je ono, samozrejme v hardcore rezimu (v postprocesingu je to lepsi udelat). Proste jsi v prirode natacis 60fps, uvidis ptaka so pristava na vode... koleckem si plynule zvysis fps :cool:
REDCODE 250: REDCODE to je nazev jejich vlastniho kodeku (nevim na cem je zalozeny) a to cislo znamena max. datovy tok (v dnesnich AVCDHD mas tak 24 :cool:) s tim, ze tady tohle uz Flash karty nestihaji, takze jedine a SSD (to je stejne pro uplne maniaky REDCODE 100 staci i na CFka)
EDIT: Jo a abych nezapomnel, tahle kamery se dodavaji standardne s advaced dalkovym ovladanim pracujicim v BT pasmu, kde vsechny parametry jdou na nem nastavit (je tam i display s menu, histogramem atp)
Video, ze ktereho byly porizeny screeny s Leonardem DiCapriem a sirkou... nevim co pouzili za kodek ale ten mov ma 700MB 40s a pry se i tak v kompresi ztraci detaily (je to resize z 4K na 1080p) :D Nejvetsim lakadlem je asi to ze ten zpropadeny senzor pri rozhorovani sirky zachyti i svetlo odrazene od zdi, to je proste neuveritelne na ISO2000!
http://red.cachefly.net/LEO.mov
NO TAK Z TOHO SEM SI SEDNUL Na PRDEL. teda na zidli sedim, ale vite jak to myslim.
to video ma dat. tok 157Mbps = 19,6MB/s to je naprosta pecka. CQ2 na 50% :-o
doposavad sem myslel ze nejlepsi tok ma Samsung Ocen life s 40Mbps.
http://img6.imageshack.us/img6/2237/leovay.th.jpg
kdybys mel jeste nejaky tyhle hustokruty videa tak dej linky
No pokud ti jde o bitrate, tak zkus treba Ducks Take Off 2160p QHD CRF25 TEST DEMO x264 - 238 Mbps, 3840x2160 :) 1080p toho sameho 106 Mbps
Potom Skambankt - O Dessverre (2009) 2K H.264 46Mbit s peakem 82mbit .. bude toho vic.
No a ted si vem, ze i tohle je komprimovany original :DCitace:
Původně odeslal Moralles
muze to byt pravda? :-)Citace:
The ASIC is up to 29 layers (from memory) - he said it was the most complex ASIC ever produced for any purpose in any industry.
kamery budou mit HDR mod, jak pro foto tak pro video :cool:
Jak se provádí HDR ve videu? Jako třeba 100 fps redukované na 50 fps s větším DR? Jestli ano, tak jaký to musí mít proboha procesor?
tak jako pokud je to schopne zaznamenat 5k rozliseni v burstu pri 160fps... (neni znamo zatim jaky burst to bude mit)... Jinak priklady HDRka budou pred vydanim... tohle je nejnovejsi prohlaseni... ale z toho co psali je to jen otazka firmwaru... zadny obvod navic, takze asi to fakt ma naslaple streva...Citace:
Původně odeslal jan555
Osobne bych si to dokazal predstavit, jak pises ty... ale ze to treba bude zaznamenavat 60fps a bude tam celosnimkove prokladani a pak se to zpracuje az v softu... takze pak 30fps (tudiz klidne to HDRko muze byt i z vice snimku)
Citace:
Speculate all you want here. We aren't giving out the specifics of how it works until it is released.
No, to může být schopné, ale předpokládal jsem, že na to neaplikuje žádný advanced processing v reálném čase. Samozřejmě je otázkou, co je "HDR", ale moje představivost nesahá tak daleko, abych si dokázal představit procesor (a to mluvím o dedikovaném procesoru), který dokáže kalkulovat třeba 50/60/80 HDR snímků v 5K (ekv. cca 14 MPx?) ze 160 snímků každou vteřinu v reálném čase. Domnívám se, že kdyby to fungovalo tak, jak jsme zvyklí, tak je to o několik řádů větší výpočetní výkon než u nejlepšího dostupného workstation procesoru ...? Nic, to jen že tohle zarazilo zase mě :) .
tak tady to funguje: (i kdyz nevim co je to za princip, jen jsem to vytahl z diskuze, je to ale zajimave)Citace:
Původně odeslal jan555
http://clairpixel.com/eng/main/sub03_01.html
to podle me nemuzes srovnavat s workstation procesorem. s grafikou mozna, hodne zevrubne ...Citace:
Původně odeslal jan555
Vzkaz od samotneho Petera Jacksona, hodne zajimave:
http://red.cachefly.net/PJ.mp4
Co se tyka Epic kamer (to jsou ti nastupci RED ONE) uz probihaji rezervace... takze od leta to zacnou posilat.
Ja osobne jsem to s kamerou Scarlet vzdal, letos budou Epic, pristi rok Scarlet, to uz je jasne... jenze ja chci jit ven a tocit, takze kupuju novou kameru, hracku jmenem TM700 od Panasonicu (prodam starou a do teto vrazim 10 tisic). A budu doufat, ze nekdy treba za rok dva budu mit dostatek penez na Scarlet.
Kdyby to jeste nekoho zajimalo tak tady je popsane jak funguje to HDR:
Citace:
So what exactly is HDRx™?
HDRx™ is a RED invention that is built into every EPIC and Scarlet camera giving the user an option for extended dynamic range when the situation calls for it… from 2 to 6 stops over native by preset.
How does HDRx™ work?
In a single camera, HDRx™ simultaneously shoots two image tracks of whatever resolution and frame rate you have chosen. The primary track (A-track) is your normal exposure. The secondary track (X-track) is a "highlight protection" exposure that you determine in the menu settings. You select the amount of highlight protection you need in stops… 2,3,4,5, or 6. Each stop represents a stop less exposure in shutter speed. Example… if you select 2 and your primary exposure is 1/48th sec, the X-track will be two stops less exposure at 1/192 sec. The ISO and aperture remain the same for both exposures.
During recording, the two tracks are "motion-conjoined", meaning there is no gap in time between the two separate exposures. If they were two alternating standard exposures, there would be a time gap between the two tracks that would show up as an undesirable motion artifact. Both tracks (A & X) are stored in a single R3D. Since there are two exposures, the camera is recording double the amount of frames. For example, if you are shooting 24fps, the camera is recording 2-24fps tracks, the data equivalent of 48fps.* After combining the two tracks for playback you see only one 24fps motion stream.
Once I record HDRx™... what do I do with it?
The power of HDRx™ is the multiple options you have to use it.
1. Combine the two tracks in post tools like REDCINE-X, Storm or any other application that supports the SDK to create "Magic Motion" (see below). This blending of the two tracks comes with a slider so you can decide in post just how much of each track you want to use. A preview window shows you the result of your selection. You can also view each track individually.
2. You can combine the two tracks using MNMB (More Normal Motion Blur). MNMB is designed to emulate the motion of a traditional camera with full motion blur. This is a tool created by The Foundry (creators of Nuke) that uses a new motion estimation algorithm designed specifically for HDRx™. The shorter exposure (sharper image) is blended to match the motion blur of the normal exposure. Again, the preview window shows the combined result or each track individually.
3. You can use the X-track separately (sharper image) for motion tracking, then combine with the A-track as in #1 or #2 above… or ignore the X-track altogether.
4. You can combine with a variety of additional new tools created by Graeme Nattress for a multitude of creative options.
Exporting to EXR will give you a multi-view EXR with both exposures (like a stereo EXR).
So what is "Magic Motion"?
Shooting 24fps and 180 degree shutter on film or digital is an illusion. It is not really the way we see motion. Ask someone to stand in front of you and swing their arm over their head from one side to the other. If this was shot traditionally at 24fps at 1/48th shutter all you would see is a constant motion blur until the arm stopped. But that isn't what your eyes actually see. You see both motion blur AND sharper references to the arm and hand all along the path. "Magic Motion" is much closer to what the eyes see… the combination of motion blur (A-track) and a sharper reference (X-track)… with the bonus of extraordinary dynamic range not seen in any motion capture camera.
Note: If you ignore the X-track completely, you will have a standard exposure with 13 stops of native dynamic range from the EPIC… just as if you had not turned HDRx™ on. For this reason, we encourage the A-track exposure to be "normal". It gives you the most options, including "turning off" HDRx™ (the X-track). If you are tempted to shoot "over-under", you are then fully committed to HDRx™. While no one will call the police on you if you do this, your options are dramatically reduced.
So what are the downsides to HDRx™?
1. Since you are recording twice as many frames, your maximum frame rate, minimum REDCODE ratio, and maximum record time on your media will be cut in half.
2. Limitations. MNMB is more effective than Magic Motion with very fast moving, bright objects in a dark environment. Can you break HDRx™? Sure. Just like you can pan too quickly with any 24fps camera. All digital cameras have to deal with judder. We got used to film grain to the point where we thought we actually didn't want to give it up. Learn the limitations just like everything else. Then shoot 18 stops of dynamic range and show all your friends what your camera can do.
kdyz uz jsi to vytah
http://www.engadget.com/2011/01/07/w...-hands-on-vid/