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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 HD mode in build 17

i still don't really understand the difference between Red4k and 4kHD other than that each mode creates different proxies. both are raw formats.



jou
 
4K HD v's 4K 16:9

4K HD v's 4K 16:9

It mainly affects what happens when you do the down-convert to 1080p. With 4K HD is a 2:1 which means the in-camera down-convert uses the same FOV as the recording, whereas the 4K 16:9 is cropped first, then scaled 2:1.

And if using software a 2:1 scale is quicker to do that a non-integer scale.
 
What I like about this is that the 16:9 image in the LCD is the same as the one out the 720 preview AND the 1080 playback - no cropping.

Which begs the question - (I have not tested) - what happens currently on 3K 16:9 playback out the 1080 - I assume that is cropped as well, Stuart??

So ... assuming we can get a "PLAY ALL" feature in Build 18 - this will be very usefull!!

** My vision of PLAY ALL would be the ability play the entire contents of a card or drive with "slugs" between clips (with pre and post roll TC) out 1080 with embedded TC and AUDIO - this would be a GREAT option for commercials who want to walk with a tape from set - or get a HD tapes very FAST - your camera becomes a deck. At $17,500 you might just want to buy another one.
 
4K HD is 3840×2160 pixels, so if you are ultimately going to 1080P, this is exactly double 1920 X 1080. Therefor you use the H proxy and you dont have to scale the image.
 
I have to completly second Mark's comment about a "playall" function. The issue came up a week or so ago for a friend of mine. His client needed to start cutting the night after the shoot, and there was just no way RED was going o work out for them. The only thought I had to solve the problem would have been a direct ingest over SDI. Pretty please with cheese on top?
 
If you had PLAY ALL and you went into a deck, what kind of gamma/look would you set the camera to, assuming the client wants maximum flexibility in color correction? Would you set it to VIEW RAW, or does it have to be REC709 with some kind of flat look applied to it? I have no idea...
 
The problem with Play all is that playback is using the current settings of the camera. So if you shot in a whole bunch of locations, with various color temps, exposure levels etc this would be a problem. Now RAW doesn't use the settings, so you could spit out this way, but then that sort of defeats the purpose for some people who just want a good, close to correct HD signal coming out. I think it would be good to have a Play All option I just wonder if we should also have a way to playback with the metadata the clip was originally recorded with, so that each clip maintains it's look.

Look forward to hearing thoughts on this as iI do want this kind of workflow available.
 
stevesherrick said:
Look forward to hearing thoughts on this as iI do want this kind of workflow available.
Click to expand...

Each clip needs an RSX type file associated to it when it's shot so a "play all" would apply the correct metadata for each shot. At least then you could set a look for a setup, shoot, move on, set up a new look etc.

At the end of the day you could play all and get a corrected image out and capture that.

Build 18.
 
joelnet said:
Each clip needs an RSX type file associated to it when it's shot so a "play all" would apply the correct metadata for each shot. At least then you could set a look for a setup, shoot, move on, set up a new look etc.

At the end of the day you could play all and get a corrected image out and capture that.

Build 18.
Click to expand...

Yes, then it would work. You could let it go and leave the room. This would be a great feature for me. Although I feel there is a lot to be said for full debayering process, there are just certain jobs that don't have the time or budget to process everything at this kind of quality. But they want the look. So, you shoot it Red, play it back through 1080P into uncompressed or ProRes and then you have a good HD clip. But we also need timecode down this spicket as well, so you could go back and re-conform to hi-res later if need be.
 
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