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  1. #41  
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    Great News Jim.
    Can someone please demystify ONBOARD SSD!!!


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  2. #42  
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    Quote Originally Posted by Gian Joon View Post
    Great News Jim.
    Can someone please demystify ONBOARD SSD!!!
    It is as it says - an on Camera module with a built-in SSD recorder (Solid State)
    Shock proof, Weather Proof, Fast Recording. Exciting .
    Last edited by Tim Whitcomb; 03-31-2010 at 10:15 PM. Reason: punc
    Kind regards,

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  3. #43  
    Senior Member Roberto Lequeux's Avatar
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    Quote Originally Posted by Brook Willard View Post
    When we're talking about higher frame rates, where will the bottleneck lie? In the data throughput or the ability of the camera to compress data at various levels? I'm wondering if 2.5:1 compression is more of a computational challenge than, say, 10:1 compression.
    Wait, so it is 2.5:1 compression that is mathematically lossless?!?!

    I inmediatelly assumed that this could not be the rate of compression and remain mathematically lossless, so I assumed that he was refering to an aspect ratio...

    2.5:1?!?! Are you serious Jim? Really? Please clarify cause that sounds too good to be true! When is RED going to get their first technical Oscar? :)

    How heavy is the uncompressed stream at 24fps? Can the brain keep up at 100 fps? Will all of this, or most of it, be revealed at NAB? Is there anything you can tell us now?

    Quote Originally Posted by Deanan View Post
    Backend is REDstation but it's important to remember that choosing the right REDcode rate for the right situations is key to a sensible workflow.

    There's going to be a tendency to want to shoot at the highest redcode when a lower redcode is more valid and sensible.
    Quote Originally Posted by Larry McKee View Post
    There will be exceptions, but I think that RC50 will be more than enough for most situations.
    I am no DP, but I would agree with Larry! Somewhere around there should be plenty for serious 5k productions. Now if you have oodles of budget, sure, shoot the whole darn thing in lossless, but there will be no point in doing so other than perhaps for chroma, DFN, etc... correct?
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  4. #44  
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    Quote Originally Posted by Roberto Lequeux View Post
    Wait, so it is 2.5:1 compression that is mathematically lossless?!?!

    I inmediatelly assumed that this could not be the rate of compression and remain mathematically lossless, so I assumed that he was refering to an aspect ratio...

    2.5:1?!?! Are you serious Jim? Really? Please clarify cause that sounds too good to be true! When is RED going to get their first technical Oscar? :)
    Lagarith Lossless codec offers roughly 4:1 on average for demanding video. In fact, for black/white sequences, I have noticed 10:1 or greater, with credits being more like 100:1. Overall, 5:1 sounds about right. And it is 100% lossless, free, and available online. Of course, it isn't really a capture format! 13.5 stops at the price level, however, is damn near worthy of a technical Oscar.
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  #45  
    Quote Originally Posted by Brook Willard View Post
    Very good points. I'm hoping that REDstation expands to faster connections than SATA... things like SAS and USB 3.0 [when it matures]. As data rates increase more and more there will be increased demand for faster transfer speeds. The laptop will be a thing of the past for loading quite soon...
    When USB 3.0 is ready ( specially on the mac ) ... so will REDSTATION. That is part of the whole modular concept.
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  6. #46  
    Quote Originally Posted by Dan Kanes View Post
    Could someone describe what a wavelet artifact looks like?
    Think a noise reduction algorithm like neat or peach noise reduction turned too high.

    ----

    Now when you say "Onboard SSD" do you mean a module or does it have to be attached directly to the brain?
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  7. #47  
    Senior Member Roberto Lequeux's Avatar
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    Quote Originally Posted by Subhadip Sen View Post
    Lagarith Lossless codec offers roughly 4:1 on average for demanding video. In fact, for black/white sequences, I have noticed 10:1 or greater, with credits being more like 100:1. Overall, 5:1 sounds about right. And it is 100% lossless, free, and available online. Of course, it isn't really a capture format! 13.5 stops at the price level, however, is damn near worthy of a technical Oscar.
    Thank you Sub. Yea, I wouldn't know what might take it but I figured it is just a matter of time for them to earn them one. Perhaps everything everyone ever wanted put together into one camera could do the trick?

    So 2.5:1 is the compression ratio, perhaps not so aggressive because of storage being so big and so that cheaper gear can deconstruct it?

    What is the size of 12-bit RAW at 5k? Please, someone, I just want to know how big the files will be. How does this go? 12 bytes x resolution? Can't be that simple...
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  8. #48  
    Quote Originally Posted by Roberto Lequeux View Post
    So 2.5:1 is the compression ratio, perhaps not so aggressive because of storage being so big and so that cheaper gear can deconstruct it?
    2x-3x is ambitious for lossless normal footage. I imagine that's nearly as far as it can be compressed.
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  9. #49  
    Senior Member Roberto Lequeux's Avatar
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    OK... you guys can go ahead and discuss all of this compression math stuff, as soon as someone tells me the actual size of the file... please!!! xP
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  10. #50  
    Senior Member Lauri Kettunen's Avatar
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    Quote Originally Posted by Jannard View Post
    EPIC has a REDCODE mathematically lossless compression option (2.5:1)
    Just curiosity and to understand this precisely, should term "mathematically lossless" be understood literally implying the compression map is an identity? That is, when an image is compressed and decompressed the result is precisely the same image one started from at the first place.

    The other possible interpretation is that the map is not an identity but the difference between the original and decompressed image is within some accuracy tolerance related to the hardware and consequently one may consider the difference is meaningless?

    Whatever is the case all this is hairsplitting when it comes captured images. But, I love to understand what my (forthcoming) equipments really do.
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