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  1. #21  
    Senior Member jake blackstone's Avatar
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    Quote Originally Posted by Terry VerHaar View Post
    Doesn't it depend on the type of compression and the type of raw? Hard to imagine they "own" the whole gamut of "compressed raw." But stranger things have happened, I guess.
    I'm not a patent attorney. May be someone, who had read the actual patent can enlighten us. All I know, that Red vs Sony lawsuit is coming up. Actually, I don't even know that. All I know, that it had been filed.
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  2. #22  
    Senior Member jake blackstone's Avatar
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    Quote Originally Posted by Sulekh Suman View Post
    Jake,

    This is from their website.

    Balckmagic Cinema Camera 4K Tech Specs
    http://www.blackmagicdesign.com/prod...uctioncamera4k



    It seems to me that there are several different ways of arriving at compressed RAW(other than what Red has patented). NAB 2014 will bear this out further.
    BMD calls it "visually lossless compressed CinemaDNG RAW". It's mostly semantics and not the same as compressed. For example LOG-like encoded image can be interpreted as compressed and visually lossless. That is one of the reasons why Kodak invented Cineon and why ARRI uses Log-C with Prores.
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  3. #23  
    Senior Member Matt Ryan's Avatar
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    What if Arri announces a 4K camera with compressed RAW licensed from RED.... Now that would be interesting. Imagine a 4K Alexa with R3D's...
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  4. #24  
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    Great. So BMD is using semantics to it's own disadvantage by calling uncompressed RAW(Visually Lossless Compressed DNG RAW). Doesn't make sense to me but I will take your word for it. I don't see how Log implementation(Cineon or Log C) on Compressed Pro Res has anything to do with Compressed Raw(wavelet or through some other algorithm) which will be lossy no matter what BMD has to say about it.

    There is substantial ambivalence around Redcode itself. It doesn't specify at what compression does the RED RAW become 12bit.

    I am sure there is a valid reason why they don't call 2.5K Cinema Camera Raw: Visually Lossless Compressed.
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  5. #25  
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    I hope they have a fully working model of the KineMax at NAB... There's something about renders that makes me think "years" not "months" away...

    ALSO, starting with 5.1.34, there's been an EUA or License or something on the cameras... Jarred said "more about it at NAB", but I've got no idea what it could be.
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  6. #26  
    Senior Member Matt Ryan's Avatar
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    Quote Originally Posted by Mike P. View Post
    I hope they have a fully working model of the KineMax at NAB... There's something about renders that makes me think "years" not "months" away...

    ALSO, starting with 5.1.34, there's been an EUA or License or something on the cameras... Jarred said "more about it at NAB", but I've got no idea what it could be.
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  7. #27  
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    I'd want that... But how/why would that require a software license on the camera? (or are you just guessing based on it being a software thing?)

    OH MAN, just thought of another hopeful -- REDmote Pro... Am I right, or what?
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  8. #28  
    Senior Member Matt Ryan's Avatar
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    Quote Originally Posted by Mike P. View Post
    I'd want that... But how/why would that require a software license on the camera? (or are you just guessing based on it being a software thing?)

    OH MAN, just thought of another hopeful -- REDmote Pro... Am I right, or what?
    That's been hinted at for a while.

    The license agreement is most likely preventing others from hacking the system and creating their own app. That would make sense to me.
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  9. #29 TLS rehouse 
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    Quote Originally Posted by Chad Bonanno View Post
    True Lens Company releasing a series of Nikon Rehoused lenses is what I am mostly excited for !
    We bought the 80-200 TLS, they did an awesome job. Best rehouse Ive ever seen.

    Tough to tell the diff between this lens and the Ziess 70-200 at twice the price.
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  10. #30  
    Senior Member Adam Johnson's Avatar
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    KineMax is not going to cost $3k...that's the initial deposit. Probably close to $20k I bet.
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