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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 :)

Did Peter Jackson use RED codec?

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cinemano

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Hello

When Peter Jackson shot "crossing the line" did he use the RED code or real RAW? Real RAW being I assume about one Gig per second?

So an entire RED drive would give him like 4.5 minutes?

In a CF card would be like 8 seconds of 4K only :)

Can a RED Drive handle 4K raw? (1 gig per second recording?)
 
REDcode but at a lower rate than what we currently have.
 
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can we use that lower rate someday? maybe in a later build?
 
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doesn't lower rate mean less compression? sorry im new here. Or lower bitrate.. so more compression?

would the red drive be able to handle 1 gig p sec raw 4k ?
 
cinemano said:
would the red drive be able to handle 1 gig p sec raw 4k ?
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No. Not anywhere close to handling RAW uncompressed 4K. You would need a very high performance RAID system for that. Probably the size of an under-counter dishwasher or small refrigerator.
 
RED code is an intelligent compression

RED code is an intelligent compression

RED Code is a intelligent compression used by RED for RAW footage which has all the meta info needed for DI and other color / VFX process.

And also uncompressed RAW is not practically possible for maintaining and managing by indie filmmakers and if you are interested only with uncompresses please look for Dalsa cameras, workflow and their budget . If you look at AVID DNXHD / Apple Pro RES 422 (HQ) which are super quality finish in 10BIT color space is the best example of compression and their usage.

Hope this helps!
 
Okay, so if i wish to transfer to film, the ideal codec to export final work is Apple Pro RES 422?
 
Nope, uncompressed DPX files at either 4K or 2K would be the accepted industry standard. You can happily edit in PR422 and then do a conform for a non-RT finish in DPX, if you're wanting to use commodity equipment and avoid large RAID units etc.

This is all after you've shot, of course...

PR422 and DNxHD are good for broadcast/DVD/Bluray finishes, though. Not bad codecs at all, just don't put them through too many generations and watch the bit-depth your apps are accepting them as (Color has problems here, for example).
 
cinemano said:
Okay, so if i wish to transfer to film, the ideal codec to export final work is Apple Pro RES 422?
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Pro Res is great for broadcast, but I jus tfinished a project where it was adding a considerable amount of noise to the exports from Redcine. We tested DPX and they were perfect (as they should be), then we tested UC 10-bit and it wasn't as good as the DPX, but good enough for what was being done. Moral of the story, use DPX when it really counts.
 
Anyone have experience with Cineform as an intermediate codec going to filmout...??
 
"Nope, uncompressed DPX files at either 4K or 2K would be the accepted industry standard. You can happily edit in PR422 and then do a conform for a non-RT finish in DPX"

But if the original material is already compressed Redcode (i assume its the only codec red does) how will exporting in no res DPX do anything different for the film transfer? why not edit prores then export as from the original redcode?
 
But if the original material is already compressed Redcode (i assume its the only codec red does) how will exporting in no res DPX do anything different for the film transfer? why not edit prores then export as from the original redcode?
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Yes it was compressed, but not in the same way that Prores or other codec does it. Redcode is almost lossless. I really mean lossless in most cases. Going out DPX is still the best way for a film out. A good film scan would have the same DPX file format, but not quite same quality depending on the scanner.

Plan for DPX if you can afford to do so. Time code is going to be critical if you are going to do round trip back to Redcode and then DPX.

You can still edit in Prores.

Tek
 
Redcode is not lossless, its throwing away 90% of the information. Its just doing it in a very elegant way.
 
does anyone think RED will introduce smaller and smaller compressions in later firmware updates? for instance redcode 100, etc. (100mb/sec)
 
Jeff Brue said:
Redcode is not lossless, its throwing away 90% of the information. Its just doing it in a very elegant way.
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I think probably you mean to say throwing away 90% of the parameters that describe an image and not 90% of the information content of the image. If you throw away 90% of the information content that should result in a bad image. If one throws away 90% of the image parameters it is possible to still retain a high amount of information content depending upon the compression used.

That is a reason DCTs are used in MPEG and not DFTs.
 
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