4:4:4 Color Decimation

[Peter Majtan]

Dory, you hit it in one!

Graeme

Hi Graeme - did You get my e-mail? I think I've sent it as e-mail, not as PM, so please check Your inbox for "brainiacs"... :innocent:

Take care

 

[Graeme Nattress]

Yes I did, sent reply via email - did you get that.

Graeme

 

[Peter Majtan]

Yes I did, sent reply via email - did you get that.

Graeme

I did, thank You. I did not remember that I have used my .Mac account for REDUSER. I will reply You back via my business e-mail that I use several times each day. The .Mac is used mostly as backup, sign-up to formus :innocent: , etc...

Take care

Peter

 

[lion]

We're understandably reticent to go into details of the nuances of how Mysterium and the image processing pipeline and REDCODE RAW works. Generally, when I write on the forums, I'm talking about image processing in general, but obviously with direct application to what you and we do with the RED footage. For instance, I'll talk about demosaic algorithms in general, I'll talk about the quality of ours, but not the specifics of how it works, as that is proprietary.

I hope to find some time to put some white papers on various aspects of RED technology together, as I truly believe that a educated camera user is a better camera user.

Graeme

Understandably it would be difficult to go into describing proprietary RED algorithms. I'm more interested in learning the conceptual mechanism behind RED from a workflow point of view to better comprehend any distinctions that would help to tweak settings and understand limitations. And I like you believe that comes with being an educated user.

Perhaps there could be flow chart with a box titled Mysterium magic in the entire workflow process so nothing is revealed?

I hope you will get time to put together some white papers over the next six to nine months because surely that would be valuable reading for all of us who want to acclimate to the RED universe before purchasing a system.

Again, thanks for your serious and sincere response.

 

[Peter Majtan]

Ever since the days of SD, when I have helped to execute indies such as "Reign in Darkness", I become to use a very simple trick that works on any kind of resolution / format combination. What ever I get from the camera I instantly convert to uncompressed RGB frame sequence and I maintain uncompressed data all the way through the post until a Digital Master is made. Only for delivery I then compress the DM according to the distribution format to be used.

The only downside is that You need a lot of fast & reliable storage, but this is out-weighted by the benefits... All effects / CC / editing , etc. is real-time and non-destructive.

I will sure do the same with Scarlet and Red One once we get ours. Scale it down to the 78% RGB and keep it uncompressed from then on. Keep the original RED-CODE-RAW as "master negative" in a archive. I think we will use both camera types (Scarlet & Red One) for 2K uncompressed DI workflow, as I don't see in the foreseeable future the need for anything more. As someone mentioned on another thread - rendering CGI and VFX at any resolution higher then 2K just does not make sense... Even if we wanted to burn the DM to film - majority film recorder are way to slow in 4K mode and cost several times more then 2K recording - which can be done now under 2 sec./frame with high quality lasers, or under 1 sec./frame with CRT-based recorders... In the end - great quality 2K digital projection looks way better then multi-generation 35mm release print (scratched and dusted by number of projections it had before You saw it)...

I can only imagine the 2K quality we will get out of 4K Red One's footage :sorcerer: - can't wait!!!