We have been happy RED users since 2007 and it is our camera of choice for many things, especially interviews. In fact, we have gotten so spoiled by the 4K image that we seldom change framing during the shoot – instead relying on re-framing in post. Even when we are finishing in 1080P we have can go from cowboy (waist to top of head) to a medium close-up with no (ZERO) image loss. It is super cool.
Now enters the DLSR and AF100 and other large sensor cameras. Sure you can get great depth of field, but so far everything in this arena brings compromise. In the case of the DSLR’s you have moire, poor audio recording and zero audio monitoring, and inferior h264 codec. The AF100 fares better on the audio front – working like a conventional video camera but still lacking on the recording format with AVCHD compression. NOTE: We are expecting our Atomos Ninja recorders in a few days so we will see how that enhances the recording capability.
Here is a frame grab from a recent interview we did for a corporate client. I lit it using a Litepanel 1×1 flood as a key, a Litepanel 1×1 spot as a hair/edge light, a window (cloudy day) as a fill, and a dedo projector for the background pattern. The shoot was for a one-time use as a meeting and no potential for repurposing into future programs and the result met our needs.
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.
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 »
We have the Duclos wide angle zoom in stock and for rentat Video Resources.
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.
Duclos Wide Angle PL mount zoom lens
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.
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