November 13th... prep.

[Ivan G]

OK OK OK I'll take the burst option (5 seconds) of 5k @ 500fps

[Júlio Taubkin]

Twixtor Twixtor Twixtor

It wouldn't work at all. Do a little research and see 1000 fps shots on the web.

[Tom Lowe]

Sorry to stray off topic, so this is my last Twixtor comment. I rarely shoot 24fps. Sage, I agree in principal with you. If we could do this digitally, I am all for it. My problems with Twixtor involve everything from timelapse on up to high frame rates. There is no way to get 1000fps equilavent from Twixtor unless you are starting at a very clean 500fps with almost no motion blur. Nothing against Twixtor, it has its place but not for this.

Back to Scarlet/Red/Epic, I would be happy with 150 to 200fps at full res. This is what I am used to as it competes directly with Arri 435.

Phil
http://www.artbeats.com

I don't use twixtor, but I have started playing around with AE's pixel-motion Timewarp. It seems to depend on the type of footage you shot as to how many interpolated frames you can create. For some shots, I can double the frame rate. For others, I get massive warping, or strange movement. Right now it seems to be a hit or miss kind of thing. Not something I would count on, but sometimes it can be useful in a pinch.

[J. Eric Camp]

FORGET HIGH SPEED.

I am sure they are going to give us plenty of speed. Past that rent a frick'n Phantom. Thats what it does and it is fantastic at it.

I am so surprised that simple fps is the corner stone of this conversation. Sensitivity, dynamic range, noise floor and pattern / compression scheme, data malleability, physical functionality, intersystem integration, more rez???... these are the shoulders that will bear the weight of change.

Besides, it's always been like that. There are work horse cameras and then specialty cameras. High speed being one special function. Give me HDR in the EPIC over 1000fps any day.

[HD Bubaloo]

Are we REDUSER Forum members just never satisfied?
Most company's don't give 2 $ hits about requests, etc. Requests to Panasonic and Sony end up with little changes like the addition of 24 Progressive Native instead of just 24p, not things like WiFi, 120FPS, 3D rig able, lens mount choices, attachments, etc.

Wow how far will you let us go Mr. Jannard? So far the sky has been the limit.

[Eki Halkka]

Right now it seems to be a hit or miss kind of thing.

Things that are difficult for AE time warp:

- Motion in two or more opposite directions
- Moving items that cross each other
- Motion across a grid or similar detailed background
- Small moving items
- Too fast motion
- Low contrast moving items (compared to background)
- Other similar stuff i forgot

Any combination of the above is naturally worse.

[baca4149]

I for one do not doubt the groundbreaking capabilities red possesses. I am really not looking forward to hearing people complain of what the Scarlett and Epic DONT have. Red is doing unbelievably innovative work and unless you think you can come up with something better then just don't speak. I have confidence that the Red team will be cramming as many features and options into these cameras as possible for the most affordable rate. So stoked! Thursday please come fast! :)

[Phil Bates]

FORGET HIGH SPEED.

I am sure they are going to give us plenty of speed. Past that rent a frick'n Phantom. Thats what it does and it is fantastic at it.

I am so surprised that simple fps is the corner stone of this conversation. Sensitivity, dynamic range, noise floor and pattern / compression scheme, data malleability, physical functionality, intersystem integration, more rez???... these are the shoulders that will bear the weight of change.

Besides, it's always been like that. There are work horse cameras and then specialty cameras. High speed being one special function. Give me HDR in the EPIC over 1000fps any day.

YES! Dynamic range, low light sensitivity, compression, resolution are all biggies for me.

Phil
http://www.artbeats.com

[Steve Thomson]

Like any technique its only useful if you use it for the right idea.
Here we used phantom to extend those flashpoint moments in sport that are usually an instant...

http://www.brandspank.com/bs2/featur...ort.html-715,0

disc. I would love to see 1000fps on red.
There is no Phantom in New Zealand so we had to fly one in from Australia.

[Warren Kommers]

FORGET HIGH SPEED.

I am sure they are going to give us plenty of speed. Past that rent a frick'n Phantom. Thats what it does and it is fantastic at it.

I am so surprised that simple fps is the corner stone of this conversation. Sensitivity, dynamic range, noise floor and pattern / compression scheme, data malleability, physical functionality, intersystem integration, more rez???... these are the shoulders that will bear the weight of change.

Besides, it's always been like that. There are work horse cameras and then specialty cameras. High speed being one special function. Give me HDR in the EPIC over 1000fps any day.

I don't think any of us have forgotten DR, sensitivity, and etc. Obviously those are higher priorities and many a thread about them. I think RED has a good handle on them for sure. FPS came up and honestly I think if 500fps was easier to achieve you would see more creative uses of it. I refer to how much Phantoms are renting right now like Mitch mentioned. ALL THE TIME!

Sure a high speed shot is usually boarded well in advance but what if it came to you on set like many of the best ideas do. You would be ready. You would also save the production 5000 big ones. Granted the tech is not there to affordably integrate this into 24fps cameras but when the tech comes to do it......I hope it's not ignored as there is a need for it IMHO.

Like I said earlier. The power of a high speed shot is it in the edit and the 24fps shots around it. Not necessarily as a clip by itself. Contrast and affinity principles in editing.