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Jim Jannard recently released these HDRx images:

"These were taken at the same time as the "barn shot". I'm doing some testing of HDRx™ in REDCINE-X (early build) and thought I would post as we go along.

These are all UNGRADED. I took a frame of "normal", "under" and then one from the standard HDRx™ blend tool using NO SLIDER CONTROL (default settings). With the slider, you can have more or less highlight protection... as you wish. These are LOW QUALITY screen grabs from the files stacked up in Photoshop. But you get the idea. I think we used +3 on both of these... can't quite remember, I'm getting old and the metadata wasn't in back then. Opened with REDcolor2 and REDgamma2. No other settings were touched or grading done in either REDCINE-X or Photoshop! Again, this is from the standard HDRx™ blend tool with no slider control.

Note: Back then we probably cheated a bit with the normal exposure and put it a tad over. Please don't tell anyone."

Site Admin

Also, Michael Cioni of LightIron Digital released additional samples:

"HDRx™ in Workflow

I've recently had the opportunity to work with HDRx™ from the post production perspective. I find that implementing Epic HDRx™ media into a normal workflow is seamless, efficient, and won't create a burden in the post or DI processes.

One of the best things about shooting with HDRx™ is that specific decisions as to how to create a desired end result does not need to be determined immediately. This is a critical notion when discussing how to deal with HDRx™ media when planning your offline strategy. With HDRx™ captured media, dailies can still be generated using the traditional "A-frame" for normal processing and delivery to the cutting room. REDCine-X provides a simple (toggle-able) way to view both the "A" and "X" frames upon review and initial debayer. Once you are ready for DI, a conformed list will call for a single (HDRx™ pre-packaged) R3D where an operator can affect "A" and "X" frames independently of one another.

Below is an extreme test clip shot by John Schwartzman in which we initially processed the "A" (normal) frame for primary review/dailies. The second frame represents the "X" (under) frame which was set at +6. The final frame represents the composite (blended) frame which was determined by the colorist and DP.

The most important component to our experience with HDRx™ media is that HDRx™ frames do not require external compositing which is very important in maintaining a cost-effective DI workflow. With advanced DI tools, the ability for a colorist and DP to have a timeline that contains both standard R3Ds accompanied by HDRx™ R3Ds means they have complete control over the end result without ever having to leave the DI timeline. These files were custom-composited together in 4K using Quantel Pablo by Ian Vertovec during the DI session. In other words, they were not treated as an external visual effect.

Thank you, John, for letting us share these."

Site Admin

And one of the most important posts I think Jim Jannard has made thus far:

"...(we) have gotten used to an illusion. 24fps at 180 degree shutter is not how we see. Have someone swing their arm over their head from one side to the other. If this was shot 24fps at 1/48th shutter all you would see is a big motion blur until the arm stopped. But that isn't what your eyes see. They see a combination of motion blur and sharper references to the arm all along the way. We all got used to complete motion blur from a film camera because the compromise was made for average speed of movement at a normal distance. Magic Motion is much closer to what the eyes see. Don't just take my word for it. Many have seen it on the 40' screen here at RED. HDRx™™ has other compromises in different areas. As you suggested, Magic Motion has a hard time keeping up with very fast moving shiney objects in a dark environment. MNMB works much better for those circumstances. Can you break HDRx™™? Sure. Just like you can pan too quickly with any 24fps camera. We have to deal with judder. We got used to grain to the point where we thought we actually didn't want to give it up. There are a ton of not so great things we get from every camera. Does that make HDRx™™ a not so valuable tool? I don't think so. It is a terrific tool with many uses that are better than any we have ever had before at capturing high dynamic range motion. But we have to learn how to use it along with the tools being developed for it. If you want to focus on what it doesn't do, you just might miss what it does do better than any tool you have ever seen."

Site Admin

More HDRx samples posted by RED's Jim Jannard:

"I'm going to break the "don't post" rule... because I can. Even with the remedial HDRx™ tools in RCX 416 you can see what HDRx™ is capable of. This isn't intended to be a final grade, just to showcase the power of HDRx™ that you have now."

Also, posted was the settings from the grade in REDCINE-X:

"Pretty easy... standard blend, a curve and Contrast to .50. New tools will make this more automatic.

The motion clip... I just did an "Export for the Web" in QT 7 so the clip looks a bit flat..."

http://red.cachefly.net/video/sample6stopsWeb_desktop.m4v