lightworks

Red recently introduced Red Color 3 and Red Gamma 3. The saturation, skin tone and image contrast has considerably improved from its last iteration Red Color 2 and Red Gamma 2. It allows for better on set monitoring as well as creation of dailies on the jiffy.

A short clip from an upcoming music video by DP Daniel Fernandez. I operated the Scarlet with Canon AL mount. I have found 24-70 to be most problematic/ least sharp of Canon L series zooms. I have pre-ordered the new Canon 24-70mm 2.8 USM II. Hopefully that will make things better.

Scarlet w Canon Al mount
Canon 24-70mm 2.8
2048×1080
8:1
ISO 800
59.94fps
F2.8
effective focal length 108mm

Zero corrections in RCX(Redcolor 2, Redgamma2)

A quick and dirty low light test on Red Scarlet with Spacecam’s Leica LM/ARC mount and SLR Magic’s Hyper Cine 50mm .92 lens

Test set up
Scarlet
4K
fps: 23.976
6:1
Spacecam Leica LM/ARC mount
SLR MAgic’s Hyper Cine 50mm .92

Conclusions:
Zero breathing
Close focus and working distance
Resolves well even when full open
No unpleasant flares
Relative loss of contrast when full open(contrast added in FCPX)

The video below is part of a more extensive test of a set of Voigtlander lenses(12 5.6, 15 4.5, 21 4, 25 4, 35 1.2, 35 1.4, 50 1.1) on Spacecam’s Leica M mount.
This was shot on 2K and debayered to Pro Res 422. Brought into FCPX on a 4K Time line and exported as Pro Res 422HQ. This file was subsampled to 1920×1080 for Vimeo using MPEG Stream Clip. Still trying to figure out the ideal compression for new Vimeo.

The same timeline was exported to Vimeo directly via share using FCPX. Saved a bunch of transcoding steps(it can be done in batch while still editing) and time. The image quality seems to bear no noticeable difference.

I had walked in to the SOC screening of The Descendants at Panavision with my camera following some outdoor low light tests using Voigtlander 50mm 1.1 mounted on to a Spacecam Leica M mount. I was asked if I could shoot the conversation and I volunteered. It took a few minutes to figure out the audio and off we went. I had a 64Gb card with less than 50% space left on the card so I shot using 12:1 compression. I dialed down the resolution to get the right focal length at 3K to shoot with 100mm(2X Crop). It was not easy to stabilize and pan without a tripod or a shoulder rig.
Shot handheld on a Red Scarlet using a modified Voigtlander 50mm 1.1 on a Spacecam Leica M mount
3K
12:1
23.976fps

I did a light grade in RCX and exported Pro Res 422 to FCP. I exported Pro Res 422 from the timeline and used MPEG streamclip(h.264) to upload to Vimeo. I wish I was able to run it through Davinci but my tower is out for an upgrade.

Note for future:
1. If you have shot in 23.976 don’t export 24fps out of RCX, it caused audio sync issues. I had to redo the transcode at 23.976.
2. The fan kicked in a few times while I was recording and it was embarrassing. I changed it to manual and reduced the record speed to 25% but after a while it overrode it and kicked back in. I am researching what might have been the issue. I will update it here once I find out.(Redusers suggest that we keep the fan at 30-35% while recording) and 75% during standby to keep it cool and to prevent it from overriding the manual settings.

A quick and easy test with Scarlet on a Canon 50mm f1.8 lens to demonstrate the effect of windowing as you change resolution from 5K to 2K on the angle of view. You have to dial down the resolution to 2K to be able to do 60fps. It will be useful to remember the effect of windowing and prepare for appropriate lenses accordingly.

5K(5120×2700) 1.3X Canon 50mm Effective angle of view 65mm

4K(4096×2160) 1.5X Canon 50mm Effective angle of view 75mm

3K(3072×1620) 2.0X Canon 50mm Effective angle of view 100mm

2K(2048×1080) 3.24X Canon 50mm Effective angle of view 162mm

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