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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 :)

Enough "K" already!

For us CinemaPhotographers, 9K and above open a whole new landscape, a beautiful Schlaraffenland of possibilities, the promised land of film/photo merge. I Could not be more happy. Already today I use the RED ONE 4K clips for stills. 9K is like two times better. Just bring it on (the K:s).

I enclose Schlaraffenland by Brueghel, so you can get the feel.
 
Tim,

We don't know what the effective ISO of the new sensors will be. As for the sensitivity of the RED One's Mysterium chip, it's pretty darn good for current CMOS technology. Most DSLRs have a native ISO level lower than the ~320 of the Mysterium sensor.

To me, of more importance than native ISO, would be improved response on the blue channel. Lower sensitivity and range on the blue channel is just a characteristic of digital sensors, more so with some types than others.

I run across a lot of DPs and operators who are familiar with film or HD and the RED One will throw them a curve ball when it comes to lighting with tungsten. There are many ways to handle it, but when lighting with tungsten, the apparent ISO is lower because of the decreased amount of blue in tungsten lighting and poor blue-channel sensitivity. RED thrives best with lighting balanced at 4900 to 5500 K. When lighting with tungsten you have to dump more light onto the set and be more careful about protecting highlights or better yet, use an 80 B/C/D filter and plan to lose 1 to 2 stops with the color filtering... So once again, more light.

Another consideration on ISO is to decide at which point the native ISO becomes too high. Just as artificial gain or exposure compensation can be used to approximate higher ISO values, the inverse must be done for lower values. Just how effective would the camera be if its native ISO were 800 to 1000 and yet a large number of people find they need to be shooting in the 300-500 range most of the time?

With proper exposure and shooting techniques, I get clean images out of RED, even bumping ISO up as high as 800 at times. It's sweet spot is 320 in most cases, but I find shooting for ISO 500 can be better for some purposes and can offer more highlight protection.
 
It will be cool when camera companies start offering easily-exchangeable sensor modules, similar to different filmstocks:

Daylight optimised, tungsten optimised, high-ASA sensors, sensors optimised for black and white.

Switch them like film stocks.

RED's new modulairty is a step towards that future.

Imagine a whole lineup of different RED "brains", similar to the Kodak pricelist. :biggrin:
 
Billy Summers said:
Dude...what lenses are you going to shoot 9k on!?!

What format is the project delivering in???
Click to expand...

I won't deliver film on 9K. I will downsample to 2K most of the times. I need the 9K for stills. Medium format still lenses like Mamiya, Hasselblad/Zeiss, Pentax 6x7 lenses will cover the sensor. And I assume Red will have some as well at the time.

If you don't want 9K, just don't buy the Epic 645, dude.
 
karapetkov said:
Imagine a whole lineup of different RED "brains", similar to the Kodak pricelist. :biggrin:
Click to expand...

I think this ends when you have to face the prices. Not speaking of torn interfaces of the chip/processing modules that will come at some point sooner or later.
 
Please. This thread should have been "only 28K?" It's surprising just how many people are anti-resolution. I can't wait to see the back end of 4K!
 
You can't be too thin, too rich, too smart or have too many pixels!

You can't be too thin, too rich, too smart or have too many pixels!

vanawesome said:
Seriously guys! 9K?! That's just too many K. Stop it. Too much K. Just stop. I'm serious.
Click to expand...

I'm afraid you are suffering from a lack of imagination. 9K is a digital IMax camera and there are far more applications for both the 645 and the 617 than you have imagined. It's not just about making movies at that resolution. Jim means it when he talks about DSMC - It's about catching everything that happens on a sports field of play with the high quality required for print - crop it to where the action you want is. It's about the best platform for crowd surveillance in homeland insecurity applications, it's about aerial photo mineral exploration, crop health monitoring, forestry monitoring, environmental monitoring, and much more, using the most powerful camera for the job.

Wildlife to weddings to architecture to remote sensing to sports to crowd surveillance to anything else your imagination is up for. That's what these cameras are all about and they are going to be absolutely fantastic. At least, I imagine they will....:bleh:
 
More K is great for acquisition [giving possibilities for post work], but I doubt that more than 4K would be ever needed for screening.

Merry Christmas! :sorcerer:
 
I'd like to have the option of having a 645 with 6k Rez with 10 micron pixels and tons of DR and sensitivity. Cause until computer systems catch up, everything will be downrezzed to 4k or smaller anyways. You probably won't see huge improvements, until that stuff is projected 6k and up. Maybe we could have two sensor designs to choose from.
1. 9k 645 with 6 micron pixels
or 2. 6k 645 with 10 micron pixels and a Sh*t load more Sensitivity/DR/ FPS
 
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