now from this notion somebody could conclude that Apple did not
make well implementation of QT in FCP or even that QT is
totally wrong digital media platform
and for years they (Apple) bluffed thousands of FCP user base and more.
I think something is wrong here.
Apple, Quicktime or Off...
Exemplary for the worldwide 4K DI marketleaders are:
Pricing for these systems starts at 50-75 at dvs, ~100 at filmlight. For a lightspeed 4K setup one might want to throw in even more hardware.
The main differences to software basing DI systems using Nvidia (or rarer, ATI) graphics cards, as iridas speedgrade, apple color, assimilate scratch etc are:
- realtime 4K processing with FX as blurs and conform tools as dissolves etc
- 4K display in order to see what you are doing
- 4K i/o, typically via quad DL-HD-SDI
- dedicated hardware (i.e. clipster) or clustered computers (i.e. baselight).
while i agree that we will see mainly 1080/2K masters in 2008, i can only warn out of experiences to master at 4k without 4k monitoring/QA.
While 35mm filmout will be hiding many issues of a 2K for 4K master, in a digital 4K projection you will see lots of details you missed in a 2K DI for a 4K Master, logically, as you only see 25% of the resolution on 2K the master/source have.
Especially noise can be very hard or even impossible to spot on a 2K display when its at fine 4K, but i will be -noticeable- if screened by a 4K projector (or used at a tradeshow to feed several 1080p displays etc).
4k -dci- compliant displays are still much to expensive, but if you grab one of the classic 3840x2400 pix lcds (they use to flow on ebay at ~1000-3000) you have a pretty good sharpness check
they are quite angle dependent and not to fast however.
besides the approach dvs has (dedictaed multistream 4K with colorcorrection, fx, transparency etc), others, as filmlight, used clustered computers instead of a single one.
Whats nice about these systems is that they also allow fully realtime 4K networked storage, excellent if you want to attach some VFX / CGI / graphics systems in the background.
However, so far they were all not allowed to use redcode by red.
In the case of dvs they seem to integrate it since mid 2007, and once red opens the redcode codec at NAB 2008, i suppose they will offer r3dcode support rather soon.
4K RT -debayering- however seems not to be on the very very near horizon. Speaking with -the- DI raw pioneer, iridas, at IBC 07, they said that -maximum quality- 4k debayer with software/gpu basing systems in 2008 might be pretty narrow, and after supporting raw for the s:i 2k, vision phantom 65, cineform neo, arri D20 etc about the time red came to the market, i suppose they know quite a bit about raw.
MATRIX from Chrome Imaging, Geneva, Switzerland is coming up today
as the most affordable high-performance post-production solution with
a range of turnkey systems starting from DI, 2K to 4K.
Laguun, could you please explain how you can do multistream 4K off one Clipster? Since a Clipster can only connect to one Cine4K server at a time, and one server is only capable of one stream, how is this possible? Even the DVS website claims "up to 4K." with no mention of multistream.
Don't misunderstand me. I think Clipster is a great box, and I have a lot of respect for the LA team - but I think you are overstating their capabilities and I know you are understating their price. :)
A Baselight8 is the only Filmlight product capable of realtime4K. They start at over US$500K.
LA, CA, USA
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