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  1. #1171  
    Senior Member DJ Meyer's Avatar
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    Quote Originally Posted by Christoffer Glans View Post
    It has been a valid argument for a few years of improving cameras and delivery formats. The limit is the human perception of the final result, therefore, we've started to hit ceilings already.
    You've made it quite clear that you perceive no discernible benefit in continuing to improve camera acquisition technology for the work that you do. I imagine that must be quite liberating as you'll never need to upgrade your camera again.

    Believe it or not, though, there are segments of the market that do require, or desire, improvements in resolution, DR, noise, etc, for any number of reasons.
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  2. #1172  
    Quote Originally Posted by Christoffer Glans View Post
    we would have 100MP cameras with special lenses that can cover that resolution. But these would be special cameras for very specific applications and material. No one rational would ever use that for cinema or TV shoots.
    HAHAHAHAAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA!

    I wonder why some of the most sough after photographers in the world use HD-100C and XF IQ3 cameras - EVEN when the deliverable is ONLY the internet (no print)??? (they must not be .... rational)

    This thread has turned into an exercise in chewing glass.

    Anyway .... I'm pretty excited to see what KOMODO is .... and is NOT.
    Mark L. Pederson
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  3. #1173  
    Quote Originally Posted by DJ Meyer View Post
    You've made it quite clear that you perceive no discernible benefit in continuing to improve camera acquisition technology for the work that you do. I imagine that must be quite liberating as you'll never need to upgrade your camera again.

    Believe it or not, though, there are segments of the market that do require, or desire, improvements in resolution, DR, noise, etc, for any number of reasons.
    THIS x 1000.
    Mark L. Pederson
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  4. #1174  
    Senior Member Christoffer Glans's Avatar
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    Quote Originally Posted by Mark L. Pederson View Post
    HAHAHAHAAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA!

    I wonder why some of the most sough after photographers in the world use HD-100C and XF IQ3 cameras - EVEN when the deliverable is ONLY the internet (no print)??? (they must not be .... rational)

    This thread has turned into an exercise in chewing glass.

    Anyway .... I'm pretty excited to see what KOMODO is .... and is NOT.
    Still photography is not the same as motion cinematography. Still images are used in different sizes, sometimes exceeding the frame in which they are used on the screen you are viewing. I don't really understand the idea that still photography and cinematography share the same workflow or final use what-so-ever, they are two very different mediums in this regard. Still photography benifit from higher MP counts and we're already there at 100MP with cameras like Hasselblad, but cinematography focus on screens of different sizes and distances from the viewer while having motion blur and movements that blend the result in a totally different way than how still images are used and percieved.

    Explain how 100MP motion imagery in cinematography will benefit cinema and television over the coming 10-20 years in a way that today's resolution can't handle for final viewing experience. I'm still waiting for more of a rational argument than you just laughing at all of this.
    "Using any digital cinema camera today is like sending your 35mm rolls to a standard lab. -Using a Red is like owning a dark room."
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  5. #1175  
    Moderator Phil Holland's Avatar
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    Quote Originally Posted by Christoffer Glans View Post
    Explain how 100MP motion imagery in cinematography will benefit cinema and television over the coming 10-20 years in a way that today's resolution can't handle for final viewing experience. I'm still waiting for more of a rational argument than you just laughing at all of this.
    Why are you asking about 10-20 years down the line and referencing today's available technology?

    I see a great deal of potential of capturing at above 8K resolution for 8K and 4K finishes, I'll say 2K as well. I've been producing content at higher resolutions both to downsample to 8K screens as well as be used on higher resolution display experiences.

    I'll just say as it stand towards the immediate future most companies that make display tech ideal for entertainment are focused the mass adoption of 4K and the easing in point of 8K, which has now hit the sweet spot of enthusiast pricing this year.

    I've publicly shown over the years now what you can do with merely downsampling, but also tapping into this extra resolution for all sorts of reframing, stabilization, cropping, integrated camera movement, etc. is also powerful. It's of particular interest to me as I am now working mainly on 8K productions for a while now and have the desire for more paint in the tube to throw at the canvas, right now if I squeeze the tube tight and just right I get enough to fill it up edge to edge, corner to corner.

    The final viewing experience general audiences as of now is:
    - QHD
    - HD
    - 2K
    - UHD 4K
    - 4K
    - UHD 8K
    - DCI 8K (only a couple things do this currently)

    There's lot of other resolutions not mentioned there, but that's the general shape of things. Some of those areas are much more common, some are newer, some have gotten to that tipping point of adoption. But at the moment our industry as a whole is generally a DCI or UHD 4K or 8K world with HD still being the mass delivery platform for many.

    I think every camera manufacturer has now gotten the memo about the advantages of oversampling for any final output resolution.
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  6. #1176  
    Senior Member David Collard's Avatar
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    Quote Originally Posted by Christoffer Glans View Post
    I'm still waiting for more of a rational argument than you just laughing at all of this.
    No matter who might be laughing at you Christoffer, thank you for your contributions to this forum. Cheers!
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  7. #1177  
    Quote Originally Posted by Christoffer Glans View Post

    Explain how 100MP motion imagery in cinematography will benefit cinema and television over the coming 10-20 years in a way that today's resolution can't handle for final viewing experience.
    I don't really know what "can't handle" even means in your context. Obviously .... even 2K originated content "can be handled for a final viewing experience" - but that does not mean that higher resolution doesn't benefit the artistic intent of some motion content.

    But the very short answer is - image fidelity, image quality and image flexibility.

    If you think that "today's resolutions" are so great that there is "no benefit" of more resolution for motion content ... well ... I'm not gonna spend the time to try to convince you.

    Time will certainly prove you wrong.

    100MP (12K/13K) motion content will be the next "bar" for the high-end of digital cinematography. With good reason.
    Mark L. Pederson
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  8. #1178  
    Quote Originally Posted by Phil Holland View Post

    I think every camera manufacturer has now gotten the memo about the advantages of oversampling for any final output resolution.
    Yes. They all got the memo a while ago - it just takes time a long time to make cameras. :)
    Mark L. Pederson
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  9. #1179 Komodo NEWS post IBC 
    Hi FIRE CHEF

    Good Day to you Jim.

    As there has been no reveal at IBC. Please could you post another photo of the camera?

    All I want to know if anything. Will it record 16bit redcode RAW to the internal CFast?



    Thank you for reading. 


    NiC
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  10. #1180  
    Senior Member Bob Gundu's Avatar
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    Quote Originally Posted by Nicholas Karfoot View Post
    Hi FIRE CHEF

    Good Day to you Jim.

    As there has been no reveal at IBC. Please could you post another photo of the camera?

    All I want to know if anything. Will it record 16bit redcode RAW to the internal CFast?



    Thank you for reading. 


    NiC
    Jarred already mentioned it would record Redcode internally.
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