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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 NAB WARS

We already have camera's, Infrared, FLIR, that see more than our eyes. We have camera's that see closer and more distant.

One day in our lifetime we will have camera's that see far beyond the visible spectrum and the technology of today. Electromagnetic, body auras, photon energy and the undiscovered. For now let's be happy getting rid of that FREAKING NOISE!!!

Scott Summers said:
Our eye's have limitations that will limit what the cameras will need to be capable of. Think about it, if we can see in the dark on a camera, how much further can you take that? Se through objects? Do we need 50 Billion megapixel sensors? No, Our eyes wouldn't be able to resolve that much at 'xyz' distance to your 50 Billion megapixel screen.
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While competitiveness and patriotism are to be respected, and all the effort and achievements of this company are remarkable,
in case nationality is a factor, it might be wise and fair to consider decades of r&d, creativity, and intellectual property used as foundations...and seeds for inspiration.
 
Thanks Jim,

[/"Everyone gets to do whatever they want. But there are some facts to consider.

IMHO a pro should shoot the best original he/she can afford to shoot. It never hurts.

Shooting RAW (or compressed RAW) is infinitely better than shooting an RGB codec. For a million reasons.

Upgrading a camera is cheaper than buying new cameras.

Having the ability to use many lens options/brands is better than being stuck with one.

A company that listens seems better than a company that dictates.

Pretty easy stuff...

Actually... this should be a Recon post.

Jim "]


I had written this earlier, thanks a million times over Jim for making RED happen.
Nothing much has changed in the marketing philosophy of all the major camera manufacturer except RED.

In 2002 a award winning Natural History film of mine was rejected on technicality it was not SHOT on HD.
It hurt because I could not afford an HD camera then, since 2006 the door has always been half open, and since 2008
the rest of the guys are catching up with 4K.

Yes I want to shoot on the highest resolution I can afford, at least now my film cannot be rejected because it does not meet
set standards.

I have recently posted a promo of our work on vimeo, this footage is from our B unit shot in HD, the exact same sequence has
also been shot on RED 4K. Its a film without actors, no voice-over just music, but does it still tell a story, watch and judge.
It has all the elements of good storyline, a beginning, a middle and a end. At least that's what I have tried.
http://vimeo.com/39883463
The 4K footage surpasses 1080p in every area visually.
The point I am making is that you do not need to shoot in 4K to make a good film, but if you can afford to future proof your work
and dont, then you have no one to blame. The lesson in 2000 was enough.

So all I can say is Thank YOU.

Yusuf Thakur
VFX,DUBAI.
www.vfxme.com
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Will Keir said:
We already have camera's, Infrared, FLIR, that see more than our eyes. We have camera's that see closer and more distant.

One day in our lifetime we will have camera's that see far beyond the visible spectrum and the technology of today. Electromagnetic, body auras, photon energy and the undiscovered. For now let's be happy getting rid of that FREAKING NOISE!!!
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I think you completely missed the point of my message.
 
Jannard said:
IMHO a pro should shoot the best original he/she can afford to shoot. It never hurts.
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I agree, sadly many producers don't. Too many of them are focussed on the fastest, easiest and cheapest solutions. Resolution, dynamic range and colour fidelity aren't concepts they understand or care about. How we go about changing that attitude in the age of the vimeographer I'm not so sure - but I'm working on it...
 
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