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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 :)

3K...

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You can have a finished product before the film comes out of processing. If you want it simple, shoot a 24fps project, 24 fps, 1/48th (180 degree) shutter, pick a lens, set exposure, focus and record to Compact Flash. No more difficult than that. Menus are easy. And once you set them, they stay.

Now if you want to get a bit more complicated, we can accommodate that too! But it isn't necessary.

Jim
 
Jannard said:
The answer comes tomorrow...

Jim
Click to expand...

Perhaps a new REDCINE release tomorrow?

(Funny, one of my first questions for Ted at NAB last year was... what do you think of adding a 3K mode? He basically said, yeah, that should be possible.)

Thanks again for your continued passion.
 
3k rocks...

Higher data rate rocks more...

Having F_quality Quicktimes rocks like a rock star...
 
4K 16x9 is not available in RED ALERT, REDLine and QuickTime codec. It does work in REDCINE.

All other formats (4K 2:1, 3K 16x9, 3K 2:1, 2K 16x9 & 2K 2:1) work in all software applications.

The new _F QuickTime wrapper is not yet enabled in the QuickTime codec.

Audio support is also on the list of things to be added to the post software.
 
that is not possible Corcuera
 
Jannard said:
If you want it simple, shoot a 24fps project, 24 fps, 1/48th (180 degree) shutter, pick a lens, set exposure, focus and record to Compact Flash.
Click to expand...
I think some of the "simplicity" gets lost when you have to decide 2K or 3K or 4K, in which case 50mm is not 50mm in two of the three and constantly having to make adjustments. That's not to say the 3K offering isn't nice - onboard 60p is certainly a welcome addition - but because of the lens properties, it means that I'll still be shooting 4K for as much as I can, and only "dipping down" when I want to overcrank. The cool thing, of course, is now it's 3K instead of 2K. But there is merit to the point that Mitch brought up, and is still why people clamored so much for "scaled" recording in the past. It's not 1080 recording that we want, it's full-sensor readout that's important. The only reason scaled was brought up is that it's the only way to get higher fps from the full sensor - something that's still a better option than shooting "windowed."
 
Häakon said:
I think some of the "simplicity" gets lost when you have to decide 2K or 3K or 4K, in which case 50mm is not 50mm in two of the three and constantly having to make adjustments. That's not to say the 3K offering isn't nice - onboard 60p is certainly a welcome addition - but because of the lens properties, it means that I'll still be shooting 4K for as much as I can, and only "dipping down" when I want to overcrank. The cool thing, of course, is now it's 3K instead of 2K. But there is merit to the point that Mitch brought up, and is still why people clamored so much for "scaled" recording in the past. It's not 1080 recording that we want, it's full-sensor readout that's important. The only reason scaled was brought up is that it's the only way to get higher fps from the full sensor - something that's still a better option than shooting "windowed."
Click to expand...

But scaled won't get you higher frame rates than full sensor, et least that's how I understand it.

Cheers,
Damien
 
earthling said:
But scaled won't get you higher frame rates than full sensor, et least that's how I understand it.

Cheers,
Damien
Click to expand...

Due to the sensor's clock speed, that seems to be the case.
 
YEEESSSSSSSS Haakon.
The hallmark of this camera is that it is a 4K cinema camera with 35mm FOV. Many of us love it first and foremost for that ability. If there is ANY way to do highspeed using the full chip (even if is a pricey resurrected Red-Raid) many of us would opt for that.
Jim, there IS and advantage to scaled vs. cropped. Depth of field, field of view and image magnification. There is a big difference between a 25mm and a 50mm, even if you stop down the 50 so the depth is the same. There is an amazing optical quality in using a longer focal length to achieve the same angle of view. Heck, a "full frame" still image (VistaVision) or 65mm 5-perf is even more amazing, where that 50mm is a "wide" lens. Go ahead everyone. Shoot some tests of a 50mm 4K vs. a 25mm 2K. Stop down on the 50. Still nicer. It's why many of us spent $27,000 on a goofy wiggling groundglass from P+S. Not that a Pro-35 is a terrific technical solution but that it lent an amazing quality to otherwise "OK" HD images. Red One liberates us from that device, but I'm a little sad that I can't have my cake and eat it too. But 3K is getting closer! ;) At that point, I'd just dolly back a bit and keep the 50 on for the highspeed shot.
And 60 fps is great!!!
Looking forward to loading up the new build.
Thanks guys.
Cheers,
Harry
 
Big T said:
KISS theory pleeeeeeeease :help:
Click to expand...

It's as simple as it will get.

If by saying simple you mean everything in 4K scaled including over-cranking, realize that this just isn't possible.

The simplicity is there.....

Shoot 4K if you're going out to Sony SXRD for a 4K delivery.

If 4K is your shooting scenario, you'd shoot 3K for over-cranked giving you the cleanest up-res. (Up to 60fps) or 2K for higher frame rates (Up to 75fps for now, but should be 100fps in the future).

If you're delivering in 2K to a Christie 2K presentation, shoot 4K to preserve your S35 focal lengths, or map out the effective crop factor given to S35 lenses when shooting in 2K windowed (S16) and plan out your lens package accordingly.

Shoot 2K for over-cranked shots.

If going out to 1080P Blu-Ray, shoot either 4K or 2K with the above factors taken into consideration.
 
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