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  1. #1 Compression Wedges 
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    I did a bazillion compression wedges. Not terribly interesting to look at but the data should be useful.

    Process was to take every resolution and reformat to 6k to maintain scale. All framing was equal. Focus I think was dead on. I did it by eye with focus and edge enhance modes for focus. Lens wasn't the sharpest lens in the world: Canon 24-70 L II and focal range was about 45-65. DXO says that all of those focal lengths should have similar lp/mm. Left half is center of frame and focal point. Right half of frame is edge of frame and a little out of focus to highlight flatter less detailed image regions.

    It's also very revealing to look at these in Hue Saturation and Value modes. REDCode definitely hits Hue and Saturation much more aggressively than it does luminance. As a result the noise pattern changes dramatically from 2:1 uncompressed to even 8:1 uncompressed. If you want fine noise you really want to shoot at nearly uncompressed.




















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  5. #5  
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    How did you capture 6K 2:1 compression?
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    Moderator Phil Holland's Avatar
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    Quote Originally Posted by Andrew Huse View Post
    How did you capture 6K 2:1 compression?
    Lower frame rate.
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    Junior Member Dan Dyer's Avatar
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    I was getting ready to do something just like this. You just saved me a ton o time. Thanks!
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    Nice work! Thanks for this!
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    Extremely informative and useful. Thank you! The biggest draw for me, of Epic vs Scarlet was the lower compression, which few people seem to think about.
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  10. #10  
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    5:1 compression still seems like the sweet spot.

    Of course, 3:1 is better but to achieve fluidity on set (i.e. not change mags every few minutes) 5:1 is perfectly acceptable.
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