EPIC images...

[Rick Burnett]

Another question... Will the Canon & Nikon mounts allow for control of aperture on lenses that don't have aperture rings? What about using Sigma, Tamron or Tokina lenses with Canon & Nikon mounts?

That's a good question about the aperture. Regarding Sigma, Tamron, or Tokina I would imagine there would be no issue since they are fully compatible as their Canon/Nikon equivalent. I use Sigma & Canon lens daily and don't have any issue with my Canon and them at all.

 

[Erik Franzén]

Awesome! Now that you have such a great shooting location (and the fact that you included a hat) now makes you eligible to enter WESTFEST! Do it. Do it now. :lurk5:

 

[Jeff Kilgroe]

most of that will not be in the demo during NAB... Cameras will likely have the interface you saw a couple days ago and touch focus is still in engineering. You are going to be seeing pre-production EPIC's with very early software builds.. much like Boris and Natasha was a few years ago.

Thanks for the clarification. That is what I gathered from most of the info bits thus far. Either way, I can't wait!

 

[Lauri Kettunen]

I apologize if this has already been answered, but there's so much new info that it has become difficult to find answers: Will the Canon mount be available already at stage 2?

This is quite critical question for my needs.

 

[Jon B.]

I apologize if this has already been answered, but there's so much new info that it has become difficult to find answers: Will the Canon mount be available already at stage 2?

This is quite critical question for my needs.

I remember Jim stating it would be ready to go at the same time but can't find the post now. I think it's in Epic reservations thread

 

[Mark Crabtree]

People

People

People are too funny. I hear "RED is too compressed". Then the same people see the footage on a 4K projector and say "That is the most incredible footage I have ever seen." Like they forgot the projected footage was shot with REDCODE. Unbelievable. I'm starting to get over "people".

Jim

Jim,

If people weren't "people" we wouldn't need leaders like you.

 

[Antonio Forjaz]

it really looks great, can't say more

 

[Alexander Ibrahim]

If you set it to REDCODE 2... you might get almost as many compression artifacts as a 5D.

Jim

Come on now Jim, you know perfectly well that the data rate of a 5D/7D is about 6MB/s, so it should be equivalent to something between REDCODE 3 and REDCODE 5- once either of those get scaled down to 1080p.

Of course, that still leaves the deficiencies of the 5D/7D sensor read out speed, the ASIC's chroma subsampling/bit depth & OLPF.

As you can see, I am firmly in the "talk the Canon 5D/7D up" camp.

Only once the total truth of how you can pull out every iota of image quality from those cameras can one TRULY understand the magnitude of difference between what RED does, and what they do.

In other words RED kicks so much ass, we don't even have to joke about how the Canon 5D/7D performs to highlight how much they suck in comparison. (Says a happy but realistic 7D owner)

The flip side of the DSLR craze is that the h.264 proxy module will deliver something many clients will be happy with as a final deliverable. I am eager to hear more about the proxy module, but that's another story.

As an aside regarding the proxy module, I am hoping for 1080p 4:2:2 recording at 50 and 75Mbps as an option for a "deliverable proxy" competitive with the new Canon format and AVC-Intra, as well as something that's essentially a BluRay compatible .mp4 file for "dailies and offline edit proxy" with data rate options identical to BlueRay.

On the REDCODE front, I would love to see a very low end REDCODE RAW. REDCODE 10 might be pushing it in the face of an h.264 format near that data-rate. (Panasonics AVC-Intra 100) How about REDCODE 15?

 

[Rick Burnett]

(Says a happy but realistic 7D owner)

Which definitely describes me as well. That said, the day I don't have to worry about Moire on my DSLR shooting is going to be the happiest day of my life. I cannot stress how frustrating it is to have a completely awesome shot ruined by rainbows. I don't care if Cartman likes them, I DON'T!

 

[Jannard]

Come on now Jim, you know perfectly well that the data rate of a 5D/7D is about 6MB/s, so it should be equivalent to something between REDCODE 3 and REDCODE 5- once either of those get scaled down to 1080p.

Of course, that still leaves the deficiencies of the 5D/7D sensor read out speed, the ASIC's chroma subsampling/bit depth & OLPF.

As you can see, I am firmly in the "talk the Canon 5D/7D up" camp.

Only once the total truth of how you can pull out every iota of image quality from those cameras can one TRULY understand the magnitude of difference between what RED does, and what they do.

In other words RED kicks so much ass, we don't even have to joke about how the Canon 5D/7D performs to highlight how much they suck in comparison. (Says a happy but realistic 7D owner)

The flip side of the DSLR craze is that the h.264 proxy module will deliver something many clients will be happy with as a final deliverable. I am eager to hear more about the proxy module, but that's another story.

As an aside regarding the proxy module, I am hoping for 1080p 4:2:2 recording at 50 and 75Mbps as an option for a "deliverable proxy" competitive with the new Canon format and AVC-Intra, as well as something that's essentially a BluRay compatible .mp4 file for "dailies and offline edit proxy" with data rate options identical to BlueRay.

On the REDCODE front, I would love to see a very low end REDCODE RAW. REDCODE 10 might be pushing it in the face of an h.264 format near that data-rate. (Panasonics AVC-Intra 100) How about REDCODE 15?

Well said...

All the DSLRs currently out there have a place. Just not in the same breath as what we are doing. We are looking at the lower limits of REDCODE now. After we shot 5K at 120fps to CF card with about REDCODE 10, it got our attention.

Jim

 

[Pietro Impagliazzo]

Come on now Jim, you know perfectly well that the data rate of a 5D/7D is about 6MB/s, so it should be equivalent to something between REDCODE 3 and REDCODE 5- once either of those get scaled down to 1080p.

Of course, that still leaves the deficiencies of the 5D/7D sensor read out speed, the ASIC's chroma subsampling/bit depth & OLPF.

As you can see, I am firmly in the "talk the Canon 5D/7D up" camp.

Only once the total truth of how you can pull out every iota of image quality from those cameras can one TRULY understand the magnitude of difference between what RED does, and what they do.

In other words RED kicks so much ass, we don't even have to joke about how the Canon 5D/7D performs to highlight how much they suck in comparison. (Says a happy but realistic 7D owner)

The flip side of the DSLR craze is that the h.264 proxy module will deliver something many clients will be happy with as a final deliverable. I am eager to hear more about the proxy module, but that's another story.

As an aside regarding the proxy module, I am hoping for 1080p 4:2:2 recording at 50 and 75Mbps as an option for a "deliverable proxy" competitive with the new Canon format and AVC-Intra, as well as something that's essentially a BluRay compatible .mp4 file for "dailies and offline edit proxy" with data rate options identical to BlueRay.

On the REDCODE front, I would love to see a very low end REDCODE RAW. REDCODE 10 might be pushing it in the face of an h.264 format near that data-rate. (Panasonics AVC-Intra 100) How about REDCODE 15?

REDCODE 14 for 3K on Scarlet...

Would that be a bad idea?

Just a thought considering how well the compression works, having a very low bandwidth and still RAW acquisition format is a nice thing.

Well since someone put in nice words I could add to the plea.

:biggrin5:

 

[PatrickW]

Well said...

All the DSLRs currently out there have a place. Just not in the same breath as what we are doing. We are looking at the lower limits of REDCODE now. After we shot 5K at 120fps to CF card with about REDCODE 10, it got our attention.

Jim

It is amazing how good algorithms scale... up and down.

 

[Roberto Lequeux]

I am trying to extract every iota of wisdom from your post Alexander, especially since Jim aprooves.

As well as something that's essentially a BluRay compatible .mp4 file for "dailies and offline edit proxy" with data rate options identical to BlueRay.

So for editing the benefit here would be to cut, burn (or keep in a thumbdrive or external) and review anywhere. That sounds like a neat trick.

But is there an other reason? Would you consider making this a deliverable for project that could create extensive looks in-camera? Or those that don't mind the grading limitations or degradation from pushing h.264?

 

[Jannard]

I am trying to extract every iota of wisdom from your post Alexander, especially since Jim aprooves.



So for editing the benefit here would be to cut, burn (or keep in a thumbdrive or external) and review anywhere. That sounds like a neat trick.

But is there an other reason? Would you consider making this a deliverable for project that could create extensive looks in-camera? Or those that don't mind the grading limitations or degradation from pushing h.264?

I should clarify... I didn't "approve" of all the details, just the concept of a lower data rate REDCODE.

Jim

 

[Joel Kaye]

After we shot 5K at 120fps to CF card with about REDCODE 10, it got our attention.

This thread is making me Stage 2 when I thought I was Stage 3. Great work, I'm amazed at all the ingenious ideas you're making reality. :beer:

 

[Roberto Lequeux]

I should clarify... I didn't "approve" of all the details, just the concept of a lower data rate REDCODE.

Jim

Gotcha. Though of course I wouldn't dream of you "approving" h.264 as a deliverable. That is not what I meant if that is how it came across.

 

[Sanjin Jukic]

I remember well that there was my tread launched at February 7, 2010 titled and also

immediately was shot dawn by mods or whom else at this forum that can gain power.

The title of the tread was "Red's Royal Flush":

Link to already closed "Red's Royal Flush" tread >>>

So that means the guys just left for Las Vegas to cash the winning (Digital Camera) Poker game there.

Good luck and congrats to RED Team!!!!

 

[Blair S. Paulsen]

Its not your grandfather's compression anymore...

Now, how about a RedCode RGB option as a codec we can write to in post. DPX does not hit its weight. ProRes 4x4 is a darn good codec but not viable in most VFX pipelines and AFAIK does not sport a 4K option.

If you (Jim/RED) really want to see 4K DI and mastering become more commonplace, and I really believe that you do; we need a viable replacement for DPX that is frame based, has a compression ratio that the VFX people can live with (My suggestion, FWIW, is around 8MB per frame at 4K in an OpenEXR wrapper - that's around 200MB/sec at 24fps which can be done over eSATA on 4 spindles). At the moment a 4K DPX pipeline requires over 1GB/sec which requires expensive storage solutions thereby limiting the number of projects that can finish in 4K.

I realize that with the RED Rocket™ 4K pipelines can be accommodated without going to DPX but most projects require VFX, compositing, titles, etc.

Cheers - #19

 

[Nils Ruinet]

I should clarify... I didn't "approve" of all the details, just the concept of a lower data rate REDCODE.

Jim

Thank you for considering this. :smile:
I hope we will get that option.

 

[Brian Stretch]

Really... it's a scam.

Jim

Stills
Cinema
And
More

Yep, you're right Jim...It's a SCAM. Slainte'. Don't stop doin' what you're doin'.