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Shot on 2 Red One's without MX upgrade with the OmniRig using 2 Ruby 14-24 zooms at 16mm with no geometric or lens fix in post. Tone mapping done in AE CS5 32bit project, added a little saturation on the HDR. This was shot at about noon with no lights or bounce, it was almost impossible to see into the shadows with our eyes as it was so bright out.

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  • Radoslav Karapetkov 1 year ago
    Great result!
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  • KevinW 1 year ago
    I always wondered why camera manufactures did not use two sensors with a beam splitter to increase dynamic range.

    If you could build this into a single lens package that would be cool.
  • Matt Wallach 1 year ago
    A beam splitter would cut your light going to each sensor in half, so the sensors would have to be incredibly sensitive with very low noise levels to shoot at normal apertures...
  • KevinW 1 year ago
    I wonder which would be easier, to make a single high dynamic range sensor, or a high sensitivity sensor. You also don't have to do a 50/50 split, it could be 20/80 or something.

    But yes, not as elegant as it first seemed :( This method here seems to work pretty well though :)
  • Ben Westaway plus 1 year ago
    forgive my ignorance if this isn't the case, but a 3-chip camera does that anyway, right? And you can use those with low noise at normal apertures? (not in as low light as DSLRs, but they are a recent addition to the camera world, and probably shouldn't really be the benchmark)
  • KevinW 1 year ago
    I was taught a 3-chip ccd camera has three sensors for Red, Green, and Blue (rather then one cmos sensor with a bayer filter). An I do believe they have to use a beam splitter, but it splits colors, not luminance.

    But I could be totally wrong (have never taken one apart) For all I know they do some fancy post processing between the chips to gain more luminance information.
  • Elvis Ripley 1 year ago
    Fuji has done sensors that have small and large photosites. It would be interesting to mix this approach with video.
  • KevinW 1 year ago
    Two sensors and a beam splitter actually do work: vimeo.com/14821961
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  • RHK Film 1 year ago
    Looking great. Keep heading down this road please!
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  • Michael James 1 year ago
    That is sweet!!!
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  • Gregory Wilson plus 1 year ago
    Thanks for sharing, I'm glad you guys are pushing the limits on this camera rig. This looks like a filming technique that will be become very popular, then overused, but ultimately be beneficial to filmmakers that don't go hyper over the board. Kinda like HDR in photography today. ;D
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  • itai bachar 1 year ago
    Cool test!
    Fuji used to do a hi-dynamic chip in their DSLR's, didn't they?
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  • MILapse 1 year ago
    Now that's what I'm talking about! =) wonderful test.
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  • Allan Collins 1 year ago
    Wow thats awesome when do we get to try this for ourselves? Well done!
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  • Jocelyn Deguise 1 year ago
    Very very nice: the result are way more vivid than the first test. I love it !
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  • SVAD Animation plus 1 year ago
    Much appreciated. I've been wanting to see this done for years. Had a similar idea in grad school years ago, but didn't have the resources.
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  • DreamWelder Productions plus 1 year ago
    Very nice!
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  • Dimitrios Papagiannis 1 year ago
    I am not sure why, could be that there are different colors in it but for some reason I like the first test better.
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  • Matthew Gorveatte 1 year ago
    what are you using in cs5 to combine the two images, there is a better, way, i am doing the same thing right now, and my work flow took me about 4 months to figure out nice but i got it now, i hope the style that i am creating will be the new wave of the future, i should have a sample up in about 2 months, or shorter, i have a sample now but i dont think it is got all the bugs out of it yet, check out my vids, and see what you think, all the vids i have up are the old style i learnd to get where i am now, add me up on facebook plz i would like to know other ppl working on this so we can all be friends

    matthew gorveatte
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  • Christopher Barrett pro 1 year ago
    Ok, that's beautiful... but what I don't get is how on earth you correct for the difference in perspective between the two lenses?
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  • Richard van den Boogaard plus 1 year ago
    Awesome!

    You guys really understand the power of what 3D technology can do to solve everyday problems facing DP's/Cinematographers when shooting in high contrast lighting situations!

    Please show us how you do post production with these images.
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  • E3D Creative plus 1 year ago
    Hi Chris, When we do HDR both lenses are at zero IO so they are seeing the exact same same thing.

    We will put up a how to do the post video soon.
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