To read more about it, Abe Cine has this overview.

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 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

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.

Ripley is on the left, Samantha on the right

Ripley (RED ONE Camera #16) plucked to shoot music video, “Solo El Principio” in Los Angeles. Right at home with hot girls and cars, our camera doesn’t take long to record some beautiful pictures. Evin is DP, Brook is AC and I pitch in as AD. Sample RED One camera images from this shoot are posted at bottom of this page.

These production stills reveal just one of the benefits of shooting with the RED.  Note distance from camera to actress (about 7 feet) and distant from actress to background (about 3 feet) and the resulting depth of field. Try and get this look with a HVX-200 or a Varicam.

Over the shoulder shot of Samantha

RED camera images from “Ripley” recorded 09-10-07. Quick color and black level adjustment in RED ALERT. Exported as 4K Tiff, converted to JPEG. Full resolution still image in TIFF (41 MB) format can be downloaded from here.