Too much noise in Red One footage???

[Justin McAleece]

I have shot a lot of footage and to summarize I always try to shoot at 320 or 250 and if there is a tungsten balance to the scene then I am more careful to shoot it at that ASA. When I am shooting daylight balanced footage I am confident in pushing it to 500 or 640 knowing that I will get some noise but that I can eliminate almost all of it with the appropriate settings in the red programs and by crushing the blacks as has been mentioned previously.

 

Justin McAleece

866-337-8331

 

 

Red One Camera Rental

[F Bulgarelli]

I'm curious about the noise in the blue channel, has anyone tested or shot night interiors with hmi and balanced for daylight versus lit with tungsten and balanced for tungten, will there be a considerable greater amount of noise on that tungsten lit scene? given that they are both rated at 320asa and exposed properly

I know that most times there is mixing of color temperatures with gels and what not.

 

I worked with a DP that used 80 series filters to keep the balance in the blue and a hot mirror to help with IR.

Have't seen the results yet.

 

David,

 

Did you use any special filtration?

 

thanks

[David Mullen ASC]

No I didn't use any special filtration for tungsten scenes.

 

You might look at this article:

http://provideocoalition.com/index.php/aad...d_green_screen/

[F Bulgarelli]

Very interesting, thanks David.

[Mike Thorn]

That was an excellent article.

 

Just as a quick side note, I AC'd a feature this year on RED with some outdoor greenscreen work. Our backdrop material wasn't even true green - it was kind of a sickly pale yellowish green.

 

http://www.facebook.com/photo.php?pid=1013...mp;id=526019648

 

Nonetheless, the final comps are some of the cleanest greenscreen shots I've ever seen. Every single strand of the leading lady's hair was visible.

 

I attribute this in part to the fact that we were shooting with real sunlight - the screen was not lit at all during the day. At night we had two 1200w HMIs and the results are still almost seamless (shadows give it away...can't compete with the sun with 2500 watts...).

 

David Heustis told me that it was almost one-click compositing - it was the most painless part of the post process.

[Robert Niessner]

About noise and RED: I have spent a whole lot of time in researching denoising techniques and as a result I am now proudly offering my footage denoising service. You can have a look at the results you can expect in this thread, which I will constantly update with more examples.

 

The RED ONE can be pushed very far with my postprocessing techniques, I have provided examples of ISO 1280 and ISO 2000 which I can get very clean without losing lots of details.

 

@ David Mullen

 

David, your examples show the typical blue channel problem of the RED. If you are interested I can give you a shot on those examples if you can provide me with the RED RAWs. I guess I can get rid of most of the noise in the darks.

[Mo Kamal]

The RED ONE can be pushed very far with my postprocessing techniques, I have provided examples of ISO 1280 and ISO 2000 which I can get very clean without losing lots of details.

 

 

I am not a DP or an image technician, but to my eyes those results you posted are pretty impressive.

 

Is it possible for you to hook up with a programmer and build an app that would get those kind of results? I haven't seen the clips but from the stills the denoising is amazing.

[Phil Rhodes]

I suspect the problem with Red demosaicing on board would be power consumption - you can do it as fast as you like, but it'll thrash the batteries.

 

I was always quite surprised that Dalsa didn't, given the bulk and power consumption of the thing. It could be done on a decent graphics card.

 

P