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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 :)

4k/2K versions of DNxHD ?

Bruce, are you asking for a rundown of the drugs I am currently taking/smoking? :smilielol5:
 
Tom Lowe said:
Bruce, are you asking for a rundown of the drugs I am currently taking/smoking? :smilielol5:
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Well, you could just indicate via that the appropriate icon:

A) :party:

B) :emote_hippie:

C) :drool5:

D) :w00t:

E) :sifone:

F) :redface:

Ah heck: HALF of the smilies on the REDUSER list look like they are on something... that explains a lot about this site. Although people need to lay off the aggressive stuff when they post, maybe. If everyone just took something mellowing before entering into a flamewar, we'd have a calmer place.

Sorry - um, back to the topic...

If you want to render to Cineform, that might be the best option for now?

I'm just going to presume you have a reason for this 4K thing - like you're luring investors or cute girls over to your cabin to show them a screening in "THE 4K" or something?

:)

Bruce Allen
www.boacinema.com
 
Bruce, you know me too well ;)

CineForm RAW is one possibility. I have some beta software from David.
 
Well, Tom's stuff has always been very creative, so I don't question that part of his process. And I know he just got his hands on a little super computer, so he's probably able to handle the footage okay. The question I would have is how many layers of video are you getting Tom? If you use effects are they playing in realtime? What kind of performance are you seeing out of that new suped up motor of yours?

If you have a workflow that's working for you, don't change it on our behalf. But you would be one of a select few working that way, so you would be out ahead of the pack.

Everyone else is a ways away from that kind of workflow though. My guess is your film will be finished and out for quite a while before 4K editing becomes the norm. In fact, you'll probably have remastered it for RedRay by then. :-)
 
Jeremy Torrie said:
The one thing that might make all of this real is if Red decided to take further advantage of Avid's SDK and enable the Red Rocket within Avid because currently it does nothing except accelerate transcodes. If it could optimize the editing experience within Symphony or MC then that would be a breakthrough...and since AJA Kona 3G has 4K capture and playback, then in theory one could use this (Kona 3G maps their quad HD/SDI outs over 4 BNC connectors).
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As of right now, this is not really possible. There is a bottleneck during the handing off of decoded frames from Red Rocket to I/O devices like AJA and BM. Now, having said that I am able to get 4K material to play back at lower res in Avid in a 1080 timeline and it plays out through Kona 3G. On my machine I seem to be limited to a single stream though.
 
Stupid question... but for playing back 4K, you could try just good old Quicktime PhotoJPEG at like 90% quality? Worth a go... Quicktime might be crippled on PC though - but wasn't that how RED played back some 4K stuff back in the early NAB days?

Bruce Allen
www.boacinema.com
 
I've been getting 5K material playing back in a 1080 timeline in real time. Doesn't like two layers at the moment but Symphony 6 is playing back in yellow/green mode.
 
I'll test some 5K material tonight. I have an older Mac Pro, so I'm not the best for gauging top performance right now. :-)
 
Bruce Allen said:
Stupid question... but for playing back 4K, you could try just good old Quicktime PhotoJPEG at like 90% quality? Worth a go... Quicktime might be crippled on PC though - but wasn't that how RED played back some 4K stuff back in the early NAB days?

Bruce Allen
www.boacinema.com
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No, there is too much banding and loss of image quality.
 
Job ter Burg said:
Well, there's very little left to kill, or is there?
Symphony only has the handful of extra color correction features and Universal Mastering (the latter only with Nitris DX attached). I offline on a Symphony, as I like source-based CC a lot for offline (matches takes and does not occupy an effect layer, so it leaves dupe detection active, for instance).

Basically, Symphony is MC plus just one and a half feature. Those sell for more than MC now...
But why kill it? Still a bit of extra revenue for them, I reckon. In this day and age, not unimportant.
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Sure I guess if it's making money why stop selling it? It's not hurting me personally or anything. :)

It just seems to confuse the product lineup. But if people find it valuable, well who am I to judge?
 
Steve Sherrick said:
Everyone else is a ways away from that kind of workflow though. My guess is your film will be finished and out for quite a while before 4K editing becomes the norm. In fact, you'll probably have remastered it for RedRay by then. :-)
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:thumbsup: :001_tt1: :eek: :sifone:
 
Any NLE that could enables you to edit native files in a proxy-like matter but keep the highest quality in the background until you render out would be awesome.
Avid and Adobe and so on try to render the full quality and it almost doesn't matter if you change the quality settings for playback. The bandwidth is always there and the day the NLE renders in realtime so that playback from Red files can be achieved without a big RAID, will be the day native editing will be the best way to edit.
 
Peter Moretti said:
Mike, have your tried color grading on DS? From what I've seen of it, it's not a great system for grading. But I'd love to hear your opinion. Thanks.
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I'm not Mike, nor do i play him on TV, but in a DS i do grade a MOW on the same sched as Lustre & Davinci, get QC passes like them, and have DP's and directors loving what i do, mainly due to having paint, plugins & comp toolsets alive inside the CC... base grades take a tiny bit longer maybe, but the second pass is a joy

DS has great gradeing tools, but you have to understand the bigger picture to get the most out of it... typicaly the colorists that take to DS fastest are folks who have time on Pablo, and to them (like me) replaceing a sky is a few min work for example.. stuff that grinds a trad color suite into submission flys through DS.

ps.. two MOW's, two national commerical packages, and staring a feature in DCi2K... that was my head count for the last four weeks... next four weeks has me finishing the feature, one more MOW, and starting another feature.. almost everything i work on has been shot on REDMX, Epic or Alexa, but the MOW heading my way next week is shot on F3's in Slog/444...

Yea it seems DS has the tools, needs the mind to get around them tho.. that's harder to find

d
 
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