The Write Up
Shot in 8k – Export in 4k
Testing Red Helium
The Idea behind this test was to check out how the post production is effected by shooting on 8k
Specifics of Camera Setting and Test
Camera : Red Helium 8k S35mm
Resolution – 8k ( 2:1 ). – 8192 x 4096 pixels
Codex : Redcode 6:1 ( also shooting at Pro Res – Proxy file – Pro Res 4:2:2 )
Kelvin – 5600
Iso – 500
Shutter Angle – 180 Degrees .
Frame Rate – 25FPS
Project Rate – 25FPS
Grade / Look – Rec 709 / lowering the black and mid tone and bringing up the Highlights +
slightly increasing the saturation in mids and highlights
Lens in test :
Shooting all lens at T2.8 and 7ft away from Model ( no filters were used during the test )
1st Set of lens – Zeiss Ultra Prime
20mm Ultra Prime T1.9
24mm Ultra Prime T1.9
32mm Ultra Prime T1.9
50mm Ultra Prime T1.9
85mm Ultra Prime T1.9
2nd Set of Lens – Cooke Mini S4i T2.8
18mm Cooke Mini S4i T2.8
25mm Cooke Mini S4i T2.8
32mm Cooke Mini S4i T2.8
50mm Cooke Mini S4i T2.8
75mm Cooke Mini S4i T2.8
Exterior shot – Daylight * additional Test *
Shooting on the 50mm Cooke Mini S4i ( Shooting at 50FPS ). Not much data was taken for this shot just wanted to see what these lens looked like in daylight and shooting skin tones and a colour chart.
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Methodology –
Lit using two Large LED panels , set to 5600k lit to T2.8 on the colour chart and also on the White male model . The Black model (ND) is lit in a similar exposure but is more of a reference for how the camera reacts to Black skin tones.
Useful Lessons from the test –
The data rate of your codex and the proxy creation must only have a certain about of write speed to the card, as you can not record Codex 5:1 and also Pro Res 4:4:4 in 4k at the same time . I would priorities shooting better rushes than shooting a larger Proxy file.
I wish I would have had a focus puller for the test to roll from in focus to out of focus , It would have probably taken a fair bit longer but also would have been useful to show of the difference between the lens.
Post Production –
Due to shooting small takes , I wanted to see what happens when you try to play the 8k footage straight using final cut Pro, I could but It had a fair few frames dropping , so switched to “ better Preformance mode”. The image is slightly effected but you can still see detail and plays back really well.
I fully assembled the footage and now working on adding a Rec 709 look to the full film , just to keep with the idea of the test showing off the differences between the lens and checking the capture and delivery process.
Credits and Thanks
Thomas Shawcroft – DP and break down of test + Processing .
ND – Director
https://vimeo.com/strongeyeproductions
Joel Duddell – Model
Thank you to Gary, Jon and Team at VMI Bristol for providing the equipment and great support.