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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

redcode36 vs 28?

Compression wise.. the 4k Sony is actually pretty good at hunting for artifacts.

Color wise.. yeah, its a bit of a crapshoot, they have a little dog and pony show that can come down and calibrate it though every once in awhile.
 
After doing a feature and switching back and forth from 4k to 2k RC28, I noticed the most improvement in the 2K RC36 in RedCine. Short Film next week with build 15!
 
I'm just hoping you guys are serious about your projector lol. But yeah I just had one of our colorists describe redcode 36 as "meatier" for color seperation. I'll take their word over math a lot of times.
 
Our 4k projector is calibrated frequently by the factory teams, so yeah, it's a good tool for checking compression artifacts and other issues. We also have a 2k projector, and multiple Cine-Tal monitors at our studio we use for our color correction work - and to check out the results of our footage.

We have a pretty close handle on the quality, results, and parameters of the footage we shoot. We shoot in multiple genres and styles for our productions, then check the footage closely on a variety of top quality equipment, so yes, it is a good test of what we're getting.
 
Gibby said:
We shoot tons of adventure travel, nature and sports subjects with RED ONE in various resolutions, frame rates, shutter speeds, and panning speeds - and we've yet to experience a problem using RC28 that you described. What combination of resolution, frame rate, shutter speed, and panning speed were you using on the footage you describe?
Click to expand...

I'll get my hands on it.
It was pointed out to me by the producer.
Better still, I'll try to repeat it on RC 28 & 36.
 
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