I changed my business waiting for 5K. That's the first step to run to the future.
4k pipeline via RedRay (lets say 3.2kish "real") should give solid dual 2K 3D.
We just need the broadcast 3D (ESPN, DISCO, NAT GEO, MTV), cinema, and video game/adult (sadly historically important) content to land at the same time.
No doubt RedRay will improve with time too, as will 3D deliverables.
I feel this HAS TO HAPPEN for 3D to survive. No doubt Red knows this.
This is why I'm saving as much as I can for an S35 Scarlet, even though it's out of my budget range and post production structure at the moment.
I'm gonna use a lot my savings on it, but I'm sure it'll pay itself both economically and creatively in no time.
I have to agree with Jim, I just can't understand how a 90 million dollar film can be shot on a 1080p camera.
I love shooting digital, but when film stock or cameras aren't a significant factor in your budget, go for the highest quality you can get.
If you gave me that budget to make a film TODAY I'd probably still shoot it on film.
I say today because I'm waiting to see some real world footage of Epic, M-X, Scarlet, etc, before I declare film dead to me, personally. =p
Last edited by Daniel Valle; 01-12-2010 at 05:15 PM.
Jim, do you have an opinion about frame rate also for futureproofing, or is 24fps sufficient?
I ask, because 60fps/eye 1080p seems to be the minimum for futureproofing for 3D and 8K is the theoretical next broadcast standard being proposed.
As the screens get bigger, and we all sit closer to them in Stadium seating style theaters you really grasp the difference of why higher resolution is better.
The 1080p and 2k world is a compromise in so many ways, sit close enough in an old style movie theater showing 2k and you will see that compromise clearly. Sit almost anywhere in a modern stadium theater with a nice big screen and you will see that compromise of 2k projection.
Having the chance to screen 4k RED footage around the world when the technology is set up to do it is absolutely stunning, ask those that have seen the various RED reels we've produced and screened in 4k and they will tell you.
Having the ability to shoot RED at 4k, soon to be 5k - and resolve over 3k, soon to be 4k resolution on the screen is really significant. If you shoot 1080p you are making a choice to starve resolution through the pipeline. Much better to start with much more resolution at the get go.
Too bad resolution isn't everything. Functionality, ease of use, capabilities, noise, compression, and sooo many more aspects contribute to the final image, which IS the most important aspect of a camera system.
Resolution alone does not determine a camera systems worth. Stop saying it does. There are cameras that exist that have more photosites, which is how you determine the resolution on Red's cameras.
Guys, you had me sold on all of this years ago. Now just please hurry with Epic.
The reason that 4K is the future is that it represents the *theoretical* upper limit of what 100 years worth of 35mm films and TV shows can be scanned to. Certainly well-preserved or recently shot anamorphic 35mm should look great at 4K, for example.
People say, "Well, you have have to sit ___ feet away from a 50-inch screen to notice 4K." Well, why not get a 100-inch screen, or a projector that does 150 inches? Also, keep in mind that a lot of younger people watch most of their entertainment on computer screens they sit only 3 feet away from.
I just went back and re-transferred a bunch of super-16 neg I shot 10 years ago on an Arri I no longer own to 1080p in order to include the footage with material from our Red which I transcoded down to preres.
Can you imagine, in 1990, when I shot this stuff, what it would have sounded like if you suggested that HD would be the required television deliverable? Now really try and imagine in 1990 if somebody described the Red One camera, and all that goes with it and that the camera would cost $17,500? Remember what it used to cost to buy a digibeta camera, or an Arri SR3?
Ten years is so short now in technology time that we can't really grasp where we will be ten years from now, but I'll tell you what, I'm really glad to access to that footage from 10 years ago, which was shot all around the world with a big crew, still available for for broadcast 10 years later.
Jim is making a pretty good point...
Jim & TED,
We also needs to keep in mind one thing that the current resize algorithm is not good enough for 1080p / SD finish and that is also the reason people choose those cameras.
Do we really need 4k except for 3D?
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