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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 :)

#4K4ALL

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Phil Holland said:
No. Keep in mind OLPF design, at least "proper" OLPF design, is optimized for the pixel pitch and even the micro lenses at the crystal level. There's certainly room for creative effects and softening properties for those who desire it, but at a technical level RED's official OLPF designs are about getting the highest quality image.
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Well ... this is a technically correct statement with respect to pixel pitch - there is a lot of subjective elements at play - beyond "creative softening" with respect to tolerance to artifacts, preference to sharpness, etc. - and fact of the matter - folks are looking for bit more sharpness with lower RED resolutions because they get a bit of sharpening from downscale that they sorely miss with lower resolutions. And yeah, you can do it post - but most don't know how.
 
I wonder if this camera will have the slightly lower noise floor and lack of CMOS smear like the weapon, or the auto black-shade calibration.

The interchangeable OLPFs would be a sad thing to miss out on, but if you could specifically order a fixed LLO or STH when you purchase the camera I think it'd still be pretty amazing vs. what other cameras are offering. All the features are really amazing, actually.

What advantages do the FS7, C300 II or Ursa 4k / 4.6k offer?
 
Mark L. Pederson said:
Well ... this is a technically correct statement with respect to pixel pitch - there is a lot of subjective elements at play - beyond "creative softening" with respect to tolerance to artifacts, preference to sharpness, etc. - and fact of the matter - folks are looking for bit more sharpness with lower RED resolutions because they get a bit of sharpening from downscale that they sorely miss with lower resolutions. And yeah, you can do it post - but most don't know how.
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Yep, at the moment from what I have tested with the RED OLPFs over the years (Mysterium-X and the Dragon varieties) you can see that they have been optimized for each sensor. On a microscopic level.

They are truly at that magic moment just before aliasing and false color become a factor generally speaking.


Mark L. Pederson said:
Only for any fixed mount cameras. I LOVE OLPF options. It's the future.
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Agreed. They have such power from both creative and technical perspectives to be used for both aesthetic and practical reasons. Becoming more and more important everyday with digital cinema cameras really.
 
Anton Shavlik said:
What advantages do the FS7, C300 II or Ursa 4k / 4.6k offer?
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FS7 has many issues if you care about image quality. RAVEN image quality will crush the FS7 - easy breezy.

C300 MK II - I have not kicked the tires yet - so I can't comment. But no swappable OLPF.

Ursa .... it's BlackMagic. No swappable OLPF that I am aware of ... did I mention it's BlackMagic?
 
Phil Holland said:
They are truly at that magic moment just before aliasing and false color become a factor generally speaking.
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It is my opinion, based on a many tests for many years - and many camera comparisons - that they are as good as you can get with respect to PRESERVING THE RAW IMAGE - but anything you finish in UHD or greater - needs post production sharpening.

And something to at least consider - is that when you go after a market on the lower end of price point - RAW or NOT - you will have a larger base of less post production savvy folks - who will NOT sharpen their 4K in post and .... well ... you get the picture ....

Just my 2 cents -
 
What's holding RED back from creating a 4k camera that downscales from 5k s35 sensor? Is it processing power (and the cost to go with it)? From what I understand one of the things that made the c300 such a stellar TV 1080 camera was that it downscaled from a UHD sensor to 1080p to get a tack sharp image. I'm sure there's some sharpness added to, but detail also. I personally would prefer a 5 or 6k in camera downscaled true 4k than work with 5 or 6k files. (or to have the option?) I'm not expecting that from this camera but it'd be wonderful if someone could pull that off without added aliasing/moire. Looks like the Kinemax is doing that but it's just line skipping I think to achieve it.
 
Any one thinking of switching from there epic mx to the raven? We know full specs yet... but for my style of shooting it might make since. Any one know if you can use the same vmount on both epic style bodies and weapon style bodies?
 
I shoot mainly wildlife and action sports. Love long lens stuff so the crop factor is actually perfect for me. So many Natural History programs are all 4k now that the sony fs7 with HD slow motion actually wasn't cutting it.

So the camera has a built in mic I assume from the pic of the grill at the front. I wonder whether there'll be 1 or 2 XLR inputs as well. Or perhaps a low cost module that provides only a couple of XLRs? Being able to record decent sound in camera has been a big selling point for sony and canon cams. It's definitely something (along with built in NDs) that the sub 10K and run and gun market need. When you say 'ready to shoot' i would include audio inputs with phantom power in that.

I'm not too fussed myself but an affordable option would be nice. Definitely going to get this camera though. Red 4k for under $10k! ripping.
 
Mikael Lubtchansky said:
it is 5K MX size :-)
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Yep, copy and paste got me, updated the correct size on the calculation part but didn't update the heading part that I grabbed the number from for my Raven calculation. (May have been wishful thinking on my part as well ;-) )
 
Blair S. Paulsen said:
Good points Daniel. It is a bit misleading to use FF35 as the crop factor reference for motion work where S35 is the most common format.

Cheers - #19
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The whole idea of FF35 as the reference is that their were hundreds of millions of cameras made that used FF35 as the frame size and 10s of millions of people that used FF35 cameras with interchangeable lenses where they had some idea of what focal lengths represented in terms of FOV.

But I agree that crop factor has become more confusing than useful - particularly since it has been almost fifteen years since digital SLRs have taken over and APS-C has actually been more common than Full Frame. Most newcomers don't have that FF35 reference any more.
 
I don't understand; it's night time on the west coast, yet Jarred isn't here leaking more details like a sieve... Ridiculous... I'm not going to sleep until I read another couple Raven details -- exact weight, mount-info, prores or no, etc? -- something...
 
AndreeMarkefors said:
It's an EF mount and Dragon 4k is a bit wider than MFT. It's closer to APS-C. We already know quite a bit about it.
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Didn't know it was stated to be EF mount only. Personally I think 20.48 is closer to MFT than APS-C, MFT is an 18mm sensor in 4:3. It was just a thought, I'm waiting until word is official before I rule it out. Not going to be shattered if its not an option, I'd also be interested in Nikon mount or E-mount.. I guess if its not interchangeable and they have to pick one mount only for production efficiency then EF it will be. For me though thats probably the deal breaker but thats ok, I'm sure Raven will be wildly popular either way.
 
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