Interesting new developing technology from Adobe. It uses a layer of tiny plenoptic lenses in-between the sensor and the primary lens to capture the full range of focused picture information across the entire depth of the scene. You can then manage and re-focus the image in post software like Photoshop or Lightroom just like any other aspect of the Raw image. Sounds pretty incredible and slightly far fetched but who knows. Have a look.
I've been using this app lately and at $100, it's a real bargain. It's a simple and effective solution with an intuitive interface and so far seems to be running rock solid. Use ShotPut Pro to simultaneously offload and verify as many as 10 external volumes such as cards or drives to up to 3 destinations. This software doesn't speed up the transfer process but it does give you a detailed read-out of the progress as well as automatically performing a check sum on the data to verify a complete transfer. Pretty cool.
Here is a Quicktime proxy file shot with a Mysterium-X upgraded R1. Quicktime version on the machine is the most current as is the QT R3D Codec.
Nice look, eh?
The same media opened in RedAlert.
And now opened in RedCine-X v2
And finally, a QT processed in Cine-X to ProRes.
That's fine and dandy that you need to use the new software to work with the Mysterium-X files but a little head's up on RED's part would have been nice. I'm sure a few hours of combing posts on Reduser.net would yield an answer on this but if you had no idea that you have to process the media this way and aren't that RED savvy, like 90% of the people who ultimately have to deal with the files, opening up these new Quicktime proxies will definitely give you a good jolt. Honestly, the RED camera is still very intimidating to a lot of people, both production and post. They don't know the best way to work with the one light grading tools, file rendering software, offline to online process, or even how to optimally shoot the camera. If they didn't know they had to open these files in Cine-X and tried to re-color balance the images with the old tools, they would find it an impossible task. That's the thing people need to keep in mind about RAW, just because it's RAW doesn't mean that any problem can be magically "fixed in post". These are words I'm coming to loathe as too often I hear this when sloppy, irreversible mistakes are made on set. As the new workflows evolve, there is obviously a lot of ignorance on what really can be done in post production to salvage compromised images. Time and money being the key factors as extensive color correction in a traditional post production facility is enormously expensive. At least for the next few months anyways.. http://www.studiodaily.com/main/news...ion_12156.html
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