We received our cameras in 2007 and one of the first projects our cameras worked on outside of internal projects was a film called True Nature. As with most indie films, it took some time for them to wrap up all the shooting and post, but the film is now complete and looking for distribution. Here is a link to the trailer
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.
While not everyone agrees on the details, most will agree that the RED ONE revolutionized digital cinema, either directly or indirectly. Nearly two and half years after it’s introduction RED turned the industry on it’s head again by offering a cost effective major upgrade to their cameras. This upgrade to the Mysterium X sensor has the potential to radically improve the camera already in the hands of it’s owners — some owners, like us, had their RED cameras since 2007. This is a big deal, something never done by Sony, Panasonic, Ikegami, Arri in the history of the industry. Sure you could repair a camera or replace a part – put I have never been able to essentially upgrade a camera I already own without buying an entire new model!
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.
This is a clip from a video we produced in early 2009. The objective of the video was to demonstrate the value of early detection in the prevention of breast cancer. We shot all of the interviews at our Santa Ana studio and B-roll on location in Orange County – all with our RED cameras.
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.
Well our RED #15 is back in house with the upgraded X sensor and we are scheduling our shoot out this Friday, Feb 26. A small group of DP’s are getting together with us to put the Mysterium X through it’s paces and comparing it to our good ol’ Mysterium. We have a nice shot list planned, but are happy to consider some additional requests to really challenge the X sensor.
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.
MYSTERIUM RED SPACE
MYSTERIUM X RED COLOR
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.
At Video Resources we are all about finding the right solutions for each project. Though we love the RED images and workflow, sometimes other cameras such as a DSLR fit the bill or compliment our RED footage. DSLR is simply shorthand for Digital Single Lens Reflex Camera. More relevant is the video component of these DSLR cameras, which confuses the situation and the naming scheme as you will also see references to HDSLR or VSLR.
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.Continue reading »
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