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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 :)

720P and 1080P... losers

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_BK said:
I really think your customers should get as many shooting options as possible... why limit them? If you say its the "FPGA" thats holding you guys back.. then get a bigger freakin "FPGA"!
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That is not possible at this point. Take that out of your thinking. Too late.

Jim
 
If I'm forced to choose, I'd take 2k@96, but will echo other's calls for 2k@ 120 :P I plan to shoot a lot of 2k on this camera.

Also, I would happily pay for 2k@120.
 
Jannard said:
FPGA space... imagine what we are giving compared to the competition. Think of the box size. Just think about it for a moment. There is a limit to what we can do. I know that seems an impossible concept since we are offering so much, but trust me... there is a limit.

Jim
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Is the FPGA programmable? What about a software app that allow the end user to choose the cameras supported modes, and then upload the firmware for the FPGA? I'm not sure if this is possible, but worth thowing out there...

This way each user can decide which of the modes they would like available...? 2K@96 or 720@120 but not both available onboard at the same time...
 
I'd prefer 96@2K as well. It's a real tough one as 120fps is going to be so damn useful. But not that useful if we're trying to cut 720p with 4K anyway.. Most of our stuff will be DI'd at 2K, so 96@2K makes alot of sense. 120@1080 would also make alot of sense, but I'm assuming that's out of reach, and makes losing RGB a moot point anyway.

I can see it now :

Director or Producer : How fast can we overcrank ?
Me : 120fps.. but we'll have to blow that up from 720p, so all our overcranked money shots will be soft.. umm
 
2@k 96fps over 720 @ 120fps is a no brainer.
-A
 
When we started, we decided to exclude SD. My big mistake was to include HD as a recording option. We might be stuck with it for now. But the future is Digital Cinema. You can always go down in resolution. Oh, well.

Jim
 
Jim, I love you.
 
i often swap out the tires on my car for bricks. it works great.
 
Good night...
 
Casey Green said:
Is the FPGA programmable? What about a software app that allow the end user to choose the cameras supported modes, and then upload the firmware for the FPGA? I'm not sure if this is possible, but worth thowing out there...

This way each user can decide which of the modes they would like available...? 2K@96 or 720@120 but not both available onboard at the same time...
Click to expand...

FPGA = Field-programmable gate array. Unless they migrate this to a fixed version for the production camera.

Is this the case Jim?
 
im surprised you have to think about it.
 
I would prefer shooting redcode raw all the time...BUT 1080p scaled RGB is the only way of shooting up to 60p onboard with 35mm DOF. If you remove that then a Varicam with a pro-35 would still have an edge (not on quality).
If there is a plan for 4K 60p onboard then I am all in.

Jesper Holmström
Dagsljus Filmequipment
 
Jim -

If you can deliver 120fps (or even 96fps) in 2K ...

Forget 720 and 1080 recording - can't speak for other REDUSERS - but I will NEVER use it.

And please don't waste time on RGB recording ... defeats the whole power of the camera and workflow. IMHO your time is better spent on other features.

I still need 1080p (or 2K) out of the HD-SDI.
 
Ok so hear I go again, with another unpopular oppinion. If you mean 720p and 1080p scaled from the whole chip then I think we need it. For financial reasons not because I think its cool, its not. 4K RedCode RAW is the only thing thats cool. Especially if we can overcrank it.

But here is the issue. RED is really ideal for a lot of content that isn't talked about on this site to much, but which is quickly becoming very important to this market, and that is heavily compressed web content. RED is actually ideal for this content because, shallow depth of field and essentially zero noise = excellent compression, which means visibly better result for web television, results people will pay for.

These content creators don't want or need 4K. They will pay for 720p. And they won't pay you to downconvert your footage for them after you shoot it. Not having the option to reduce the overall amount of data right in camera while keeping most of the qualities of the image, aside from resolution, is a major problem. Possibly a deal breaker, pushing the camera into the possible liability category rather than the definite asset category. For me at least.

I'm buying RED because I want to use it to shoot movies. And I want to shoot them at the highest image quality possible. But I recognize that there is emotional weight behind that decision, that needs to be tempered with some wisdom. A tool like this is directly connected to my labor and all of my labor is not and will not be shooting movies in 4K at least not during the time I will need my camera to pay for itself. The more options it can give me the better off I will be. The easier I can make post production for my clients with fast turnarounds the more successful all of us will be.

I also don't accept the notion that all of this is possible in post with REDCine, the idea being that you could transfer all of the footage from a project to any format you need. I think that is ignoring the very real labor costs and time drain that this is going to create.

Jim I appreciate the fact that you are a maverick, you hold yourself and your company to the highest standards of quality. You see lower quality images as a waste of time. I see them as only the right tool for the job in many situations.

I guess what it comes down to is do you see RED as sports car or a four wheel drive work pickup. I see it as a pickup: I mostly use it for work but I sometimes take it offroading.

IBloom

P.S. 36fps 4K REDCODE RAW, to me thats an expressive thing that I do on the fly without planning. Anything faster is more of a special effect, something that you could plan for and get the neccessary equipment in advance. 36 RC is my dream spec for RED ONE.
 
96fps @ 2K will be great, especially when recordable to CF.
I was quite happy to shoot 50 fps with the 16SR3, 75 fps is the top I could now think of using in most productions, so 96 fps would be a dream in terms of flexibility (and anyway, if I had the possibility to shoot HS at virtually no cost, I'll use higher fps as well...).

So, Kick 720! Give us 2K @ 96 fps!
Please.
 
Please go with 96fps @ 2K. and 1080p with 120 fps.

The other formats don't make much sense any more.
Remember that most TV stations go 1080 now or in the next 1-2 years.

But for filmmakers most DIs are at 2 K. So when we donconvert stuff in FCP to 2K for output, then the few slomo shots are already in the right format and don't hurt the quality to much. Also remember the lenses! If want a wideangle slomo shot you need a very very wiede lens let's say a 12 mm, that the shot still looks wide in 2K. The more we go down, the harder it gets.

So 96fps @ 2K isn't bad for a start. Originaly I thougt 120 fps was the deal.
That was one of the main reasons, why I went with the RED One.

Maybe a future update will enable that option?

Anyway, RED Two will probably be the ultimate Cam with 120 fps in 4 K.

But let's finish this baby first. I can't wait any longer.
It's a fantastic time for filmmakers.

Greetzzzz

Tim
 
Jannard said:
If we don't get a clear signal... we'll keep it as it is. And I'll do a special build for me. :-)

Jim
Click to expand...

Hay Jim,

Can you build me one of them special ones? I vote for the 2k /96!!!!!!
Ditch the 720& 1080 and lets move forward. I want a professional camera...not a spork (half spoon half fork) In this case less is more! Thank god you didn’t say RED was comming with a VHS deck.
 
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