True Grit (2010)

All non-Nolan related film, tv, and streaming discussions.
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Crazy Eight wrote:Good to know. Yeah, I remember seeing that video awhile back; the noise is very mute. Either way, the MX and EPIC's noise level is reduced significantly from that of 35mm or even a DSLR, and that low light capability was definitely utilized in The Social Network. I'm still amazed that in the club scene and opening Harvard night exterior that there wasn't any noticeable grain, pretty incredible.
It doesn't quite match the 5D or 1D with light sensitivity, but because it shoots RAW you don't have any of those nasty compression artifacts. The blocky artifacts that you sometimes get shooting on a 1D at night come from terrible 8 bit codec. The red has got 12-16 bit. Sees at best twice the shades of color too. Insane.

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dam i wish i could follow along the technical terms of what you guys are talking about.

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Crazy Eight wrote:
No problem. Its going to be between Deakin's and Wally for the oscar.
Yep, but I think Cronenweth deserves some recognition as well. The Social Network was a beautifully lit film in my opinion.

Oh yea hes great! his dad did blade runner. fight club was superbly shot too, thankfully hes doing dragon tattoo :)

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James wrote:dam i wish i could follow along the technical terms of what you guys are talking about.
:lol: I know exactly how you feel man.

Right now I'm just like "RED camera looks goooooood"
If she plays cranium she gives good brainium.

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It doesn't quite match the 5D or 1D with light sensitivity, but because it shoots RAW you don't have any of those nasty compression artifacts. The blocky artifacts that you sometimes get shooting on a 1D at night come from terrible 8 bit codec. The red has got 12-16 bit. Sees at best twice the shades of color too. Insane.
Ah, I see. I feel uncomfortable pushing my T2i past 800 because of the rainbow artifacts which I've always referred to as noise.

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Crazy Eight wrote:
It doesn't quite match the 5D or 1D with light sensitivity, but because it shoots RAW you don't have any of those nasty compression artifacts. The blocky artifacts that you sometimes get shooting on a 1D at night come from terrible 8 bit codec. The red has got 12-16 bit. Sees at best twice the shades of color too. Insane.
Ah, I see. I feel uncomfortable pushing my T2i past 800 because of the rainbow artifacts which I've always referred to as noise.
Highest I push it is 1250 and that usually means I'm going to have to spend some time in Denoiser, doing just that... denoising it lol (yeah it's not a word, but it's the name of the program). I can't wait to see what the EPIC FF35 looks like. I'm trying to get my hands on an EPIC, a guy in NYC has one, runs a production company named OFF HOLLYWOOD. Also the same guy whose RED was stolen, he's still the first one to get one.

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I can't wait to see what the EPIC FF35 looks like. I'm trying to get my hands on an EPIC, a guy in NYC has one, runs a production company named OFF HOLLYWOOD. Also the same guy whose RED was stolen, he's still the first one to get one.
Mark Pederson right? That'd be pretty fucking awesome if you got your hands on an EPIC. I'd expect a rather lengthy blog post... 8-)

I got to checkout a Red One once (pre-MX), and that was pretty cool. Hopefully when I get out of high school and move somewhere that actually has film production I'll be able to check out the big toys. :D

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The film school I'm going to literally has TWO RED cameras and I have no clue how they work. Not that they really let us use them anyways...

:JGLface:

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sanford wrote:The film school I'm going to literally has TWO RED cameras and I have no clue how they work. Not that they really let us use them anyways...

:JGLface:
:eh:

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:eh:
What's the confusion?

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