The DP was Marco Fargnoli and Jeff Killian was our DIT who got them going on location in Ohio. Marco has some TIFF’s pulled from the original R3D files that you may enjoy. The film was lit beautifully and they were able to shoot as if they were shooting on celluloid.

True Nature - Hospital Scene

True Nature - Bedroom Scene

Well? Did RED  do it? Does the Mysterium X outshine the Mysterium, and is it worth the investment?

We decided to put it to the test and results are posted below. Here are some stills that represent the tests:

Low Light Compare - Tungsten

Mysterium on left, MX on right, both cameras at ISO 2000. You can immediately see the noise floor and additional image information.

This vehicle headlights and dusk shot is dramatic. Notice the low noise in the MX image, the better sensitivity and contrast range (ability to handle brights and darks). ISO 2000.

We exposed this scene at proper exposure and then opened up 3 stops to make the recording.  Using REDcine FLUT controls in POST we wanted to see if scene could be recovered. As you can easily see, the MX was easily recovered (look at the blown out leaves in the sky if the before and after) and would have been completely useable with some additional color correction, but the Mysterium  was missing so much information that it would have been impossible to correct. Both cameras were at ISO 800.

The video clips speak for themselves. Enjoy. Both clips are the same, We are testing out the both YouTube and Exposure Room – let me know which player works best for you.

On Exposure Room (download link available – file is 250mb)

On YouTube. Make sure you choose the 720P version and zoom to full screen for best view.

We believe the MX is worth the investment and have upgraded both of our cameras to the new MX sensor. Looking towards the future, our upgraded RED ONES will be a nice compliment to the Scarlet and the EPIC cameras.

Details for the Camera Test and the processing:

We upgraded our camera #15 to Mysterium X and held back our second camera, #16 to Mysterium. The test was conducted with gathering of some  industry friends at our OC facilities on Feb. 26, 2010. The tests were informal, yet provide valuable insight into the major differences between the Mysterium and Mysterium X sensor upgrade. The firmware is a beta release, as is the RED Cine program used to convert the R3D files to PRORES and to export snapshot TIFF images.

The process for the test was simple – the same set-up was used for each cameras series of shots. We used the same lighting, tripod, subjects and lenses. Between each test, as few minutes of time lapse and the subject movements and poses were similar, though not exact.

Our goal was to demonstrate any differences between the two sensors. We were expecting a difference in the noise floor and the contrast range. Both were evident and significant to us, see if you agree by reviewing the representative samples we provided. A log of the complete test is available here.

Both cameras set to factory defaults and black shaded before test. Shooting 4K 2:1, RED Code 42 Camera B is Serial No. 16 “Connor”, Mysterium Build 21.4.1 Camera A is Serial No. 15 “RIpley”, Mysterium X upgrade, Build 30.2.4 White balance was matched in Red Cine and all clips were set to REDcolor and REDgamma. No other corrections were made.

The R3D files were exported from REDcine as Apple Pro Res HQ, then brought into FCP. The video files were edited in Final Cut Pro using Apple Pro Res HQ and then exported as a reference file. The reference file was exported to H264 1080P using Telestream Episode. The H264 file was uploaded to web video server where they did their own conversions.

For the split screen comparisons, I exported TIFF still frames from REDcine and, using Photoshop created the split screen and text overlays. The files were exported from Photoshop as TIFF files and then converted to 80% quality JPEG files. As a reminder to all, TIFF single frame exports from the Red 4K 2:1 RAW file are 48MB each frame. The JPEG exports seen her are only 2.5MB so some details are missing as a result. If you are interested in seeing the TIFF files I can make links available on request, however, I feel the additional artifacts don’t distract from the comparative results, but always always happy to hear your thoughts on this.

Thanks to all of our colleagues that participated in the test at our Orange County facilities and share our enthusiasm for RED technology.

PS: We are happy to say that our both of our cameras are now equipped with the MX sensors and are available for rent.

The “doctors office” in the above clip is actually just a empty file cabinet, a c-stand playing the part of a coat rack, a couple of plagues from around our office and a random collection of books. Control of depth of field, along with minimal art direction and appropriate wardrobe created affordable, and instant credibility.

We recommend that you watch this in HD and in full screen. To choose HD, hit play first, then use the toggle in the control bar and select 720P, then click the 4 arrows to expand to full screen. Click the My favorite parts are the interviews with Dr. John West and the motion graphics.

UPDATE: We are proud to announce that we won another national award for this video. This one a Silver Reel from the MCAI (Media Communicators Alliance International), formally known as the ITVA.

Tech notes: Shot on RED ONE, 4K, 24fps, RED 18-85, 18-50, 50-150.  Post was done in FCP with the proxies, then online via RED cine in FCP. Color timing was done with Colorista.

My friend Micheal Cioni at Lightiron Digital shot some comparative tests that technically show the differences between the sensors in various light conditions. We hope our tests show the real world equivalent.

Note our tests are just to understand the differences between the sensors, as it is us obvious by now that the upgrade is a no brainer decision for most RED ONE owners.

Depending on our job schedule, immediately after the test we will be sending in our second camera, #16 for the upgrade and will be the only house in the area with two RED cameras upgraded to Mysterium X. Hoorah.

If you want to shoot any tests drop us a line.

Today the most popular cameras in this arena are the Canon 5D, 7D, and the new, reasonably priced 550D/Rebel T2i, the Nikon D90, and Panasonic Lumix DMC-GH1. We own Canon 5D and 7D camera systems with various lenses and accessories and find that they suit our needs very well. I will plan a special report on how we use these cameras in our productions, but in summary we use them as primary cameras, but mostly for B-camera and background plate work.

Canon 5d with Z-Finder

This week we are co-hosting an event at our Orange County location on using DSLR in production. This overview is from the MCAI website:

Shoot a Film with a Still Camera? No Doubt you’ve been reading about DLSR Videography in the trades. Now find out in person why and how DSLR works and if it’s right for your next production. For the MCAI Feb 2010 meeting weâ??ve gathered 3 experts to cover all the bases from technology to practical shooting tips…

What is all the buzz about DSLR? “I am thankful for the hybrid DSLR. It has changed things in so many ways: it has created an unprecedented level of price and performance for shooting motion video that was previously unthinkable at this price point. Perhaps most importantly it ‘let the cow out of the barn’ that a huge 35mm chip that shoots video is possible at a very low price. Camera manufacturers previously led us to believe it would be too expensive, but Canon has proved them wrong!” Brian Valente, Redrock Micro

So, how does DSLR work, how does it compare to other HD cameras and how different is it to use for HD video? Answering those questions and more are a trio of experts: from Canon USA,http://www.usa.canon.com Michael Cutler, will explain the EOS 5D and 7D. Bob Wilde, video expert and Regional Sales Mgr from Samy’s Camera www.samys.com will compare DSLR cameras, discuss purchase, ownership and accessories including those from Red Rock Micro,www.redrockmicro.com RRM is a developer and manufacturer of some great gear which makes handling a 35mm still camera practical for film production. Last but not least is Cinematographer-Producer Rob Terry. He recently shot a series of videos on DSLR and has plenty to tell you about the good and bad of his experience, including capture and editing.

Our moderator and host for the event, Brad Hagen, the owner of Video Resources Inc.www.videoresources.com/ has shot with a DSLR. And VRI has two Red One cameras on their rental list as well as numerous other models, so Brad has a great basis for comparison. Three experts and a knowledgeable moderator will insure you get all your questions answered. For an in-depth discussion of the pros & cons of DSLR videograpy do not miss this important program.

As always, with MCAI meetings come early to network with our guest speakers and other professionals. Bring resumes, brochures, headshots, DVD reels and any other promotional materials for your business.

EVENT: MCAI LA/OC Chapter February Meeting
DATE: February 17th, 2010 Wednesday
LOCATION: Video Resources, Inc.
1809 E. Dyer Road Suite 307
Santa Ana, CA 92705
Phone: 949-261-7266
www.videoresources.com/

The testing will be relatively simple. Since we own two RED cameras that are nearly identical – serial numbers 15 and 16, we decided to upgrade one camera at a time so we could more easily compare the images. Since #15 was older (but just by a few minutes) she went in for the upgrade last week.

We expect our upgraded camera back any day now so please feel free to submit your recommendations for shooting environments and scenes that you feel would best represent the real world situations. Using the comments posting feature of our blog (see above), post your requests and we will do our best to accommodate them.

Here is the basic criteria for our shooting test:

• Outfit both cameras with the same glass
• Run both cameras simultaneously (we have a mount for this)
• Shoot interior and exterior scenes
• Shoot day and night scenes
• We hope to have some live models (actors) available for the test
• Don’t put the cameras at risk – no car mounts, crash cams, etc.

We expect to do the testing end of this week or next and create a Apple Pro Res split screen of the results. Vegas odds (and the other tests I have seen) say the X blows the Mysterium out of the park and sets a new industry benchmark.

PS: If you are in the Orange County area and want to be part of the crew, drop me a note using the contact link above to let us know you are interested.

This shoot was a great example of using the right resources to be economical, efficient and professional. A proper scout, load in and pre-light on Friday helped to make the Monday shoot go extra smooth and reminded us all about the benefits of being prepared.

Most of the shoot was directed interview style (our preference with non-professional talent), however, we used a prompter for a one scene. As an aside, our new prompter worked well and we were able to divert the usual expense of hiring an outside tech and gear towards acquiring the additional assets we needed to add another prompter to our arsenal. Also, the budget didn’t allow for makeup, but since we had high profile executive talent, Jamie stepped in an did a brilliant job with the “powder kit”.

The proof is in the pudding as they say. Here is a frame grab from our shoot.

Click to see larger JPEG version

Tip: To add production value, we added background elements to add interest. The painting in the background was suspended with fishing line off a c-stand. Gotta love good depth of field control!

What we used for the shoot: RED ONE Camera, SN#15 RIPLEY, Red Drive, Red 18-85 zoom, Kinoflo & Arri lights. Project stat: No filters, 24FPS, 4K, ISO 320

Best wishes,

The VRi Crew!

Based on a Tokina still photography lens, the Duclos 11-16mm 2.8 wide angle zoom is an ideal compliment to any cinema style shooting package. This lets compliments our prime lens package and is great for location work. We often find ourselves in small offices and physician exam rooms where every millimeter helps.

To make it cinema friendly the rework includes a complete overall of the lens to change the focus and zoom ratio and give it a cinema style touch. It is a solid retrofit and the optics are very good. Manual aperture control with cinema style markings for pulling focus. Small, lightweight lens is perfect when handholding the RED or any PL mount camera. We have it for rental, but if you want to buy one visit Duclos Lenses.

To see a overview of the lens check out this great overview by Finner

Tip: We send our lens out with a 77mm clear filter to protect the front lens element. Much better to replace a $ 150 filter then sending the lens into for polishing.

All of our RED systems have been busy and so have we. Since taking delivery in August, our cameras and crews have contributed to features, national and regional commercials, indie features, and corporate productions.The camera packages can be built to your specific needs and all rentals include our personal, professional service.

The list below is a portion of our current inventory.

RED ONE camera body
RED EVF – electronic viewfinder
Shoulder dovetail support and cheese plate
Deluxe production and rail pack
Focus hooks and lens light
19 mm rods – various lengths
15 mm rod adapter and rods
VRi custom breakout box
Custom shipping cases for batteries
Custom shipping cases for camera and accessories
RED A/C power supply
140 Watt Lithium Ion RED V-Lock bricks
RED 18 to 50 mm zoom lens, T2.8
RED 300 mm, T3 prime
Vocas MB-4XX matte boxes and focus whips
Chrozeil matte boxes and dual side follow focus
Formatt, Harris, Tiffen and Schneider filters
Panasonic HD field and studio monitors
O’Connor and Sachtler camera support
…and more

We didn’t want to play favorites so both of our named cameras Ripley and Connor, have been equipped the same. No jealously around here.

If you want to rent a RED ONE, call us at 800-261-7266.