The news of RED suing Nikon for patent infringement was to be expected, as was the army of drooling idiots infesting the forums and comments sections of the leading websites devoted to photography and video. What the haters fail to realize is how RED completely transformed cinema. At the time the RED ONE was released,... Continue Reading →
Beautiful Noise
"What I’m really liking in the latest RED sensors is that they have an aesthetic texture to the image noise which is so far from the objectionable “video” noise or the plastic look of a noise-reduced image." - Graeme Nattress There really is something about the noise from a RED sensor that is unlike any... Continue Reading →
Some Shots of the RED Scarlet-X Dragon
As you can tell from the photos, it's an EF mount. We ordered a Meike Prime 75mm T2.1 which should arrive in a couple of weeks.
RED Files Lawsuit Against Nikon
RED has filed a lawsuit against Nikon for patent infringement. There’s little doubt as to the outcome. https://www.docketalarm.com/cases/California_Central_District_Court/8--22-cv-01048/Red.com_LLC_v._Nikon_Corporation_et_al/docs/1.pdf
Daejeon Chronicles Sees RED
We’re in love with RED, but $8,000 for the Komodo is just a touch extravagant for an English teacher in Vietnam, so instead we’re eyeing this marvelous beast - a 6K Scarlet X with EF mount for a cool four grand.
Ignorant Takes on RED V-Raptor, Upcoming Arri s35
On ARRI’s announced s35 cinema camera: “Competition is stiff for a new Super 35mm 4K camera. In my honest opinion, ARRI will really need to have “really exciting image quality improvements” to pull people away from the new 8.6K Sony VENICE and RED cameras. Sony and Canon cameras also offer not only impressive pictures and... Continue Reading →
RED Komodo Post Workflow Added to Monster Guide
The past couple of months have seen extensive updates to our Monster Guide and we're proud to say we've achieved our goal of making the most comprehensive and up-to-date manual covering the HDR10 workflow anywhere on the Web. And today it just got even better with the addition of the RED KOMODO post workflow. REDCODE... Continue Reading →
HEVC High Bitrate vs. ProRes 4444 XQ (HDR)
In this test, we compare HEVC bitrate 39,000 kbps (which ended up being 22.6 Mb/s), HEVC bitrate 80,000 kbps (which turned out to be 46.3Mb/s overall bitrate ) and ProRes 4444 XQ. To compare the clips yourself, open up the videos in three different tabs of your browser. As of today, we officially bid farewell... Continue Reading →
HEVC 10-bit 4:2:2 vs. ProRes 4444 XQ to YT
If you don't mind the ginormous file sizes and waiting longer for YouTube to finish uploading and processing your video, ProRes 4444 XQ does offer benefits over HEVC 10-bit 4:2:2 (using the standard bitrate for web publishing in Apple Compressor): more detail and improved contrast as well as richer color. In the sample clip, there... Continue Reading →
Apple Compressor HEVC 10-bit 4:2:2 Is a Memory Hog
Since Apple added HEVC 10-bit 4:2:2 to Compressor, we thought we'd look into how it impacts memory pressure on our M1 Max MacBook Pro with 32GB RAM. For the test, all apps were closed except for Final Cut Pro, Compressor and the Activity Monitor. We transcoded a one-minute ProRes RAW clip with minimal noise reduction... Continue Reading →
Create Textural Depth with Depth Map
Grain is one of the key components of the film look but few things are more distracting than seeing clumps of film grain dancing around on the talent's face. One solution is to use the HSL qualifier to isolate skin tones and use the keyer to de-emphasize the grain. An even easier way is to... Continue Reading →
The Daejeon Chronicles 