8:1 redcode

[jorge krausch]

Is it ok to shoot at 8:1 on the red epic at 5k hd if your going to deliver you work on 1080p anyway?

Which compression rates can you get away with to deliver on 1080p?

 

[Rob Castiglione]

I regularly shoot 10:1 - no problem. Looks great.

 

[Brandon J.F.]

Depends on what you are filming. Wide shots with a lot of fine detail should be at least 6:1. I've had to reshoot 2 shots like this because I used 8:1 compression. Both were wide shows that showed tree leaves moving in the wind. The fine detail and movement was more than 8:1 could handle. Reshot both at 6:1 and no problems at all.

 

[ericyoung]

It depends on what the subject you are shooting is. In general, higher compression has more trouble with highly detailed, high contrast, moving scenes. So wide shots of sunlight glinting on choppy waves at sea, waving tree leaves, forests. With those kinds of subjects you might want to shoot 5:1 or even lower compression.

However, scaling down to 1080p will hide a lot of potential artifacts, so there will be more room for higher compression.

 

[Larry McKee]

I tend to shoot 7:1 most of the time, but go to 5:1 for scenes with a lot of trees in the background and 3:1 for SFX shots or green screen. You could probably go 8:1 for most interiors and be fine.

 

[Peter Stelzhammer]

just take a closer look at RED SURVIVAL GUIDE Spring 2013 -> page number 10!
http://www.reduser.net/forum/showthread.php?98103-RED-SURVIVAL-GUIDE

I'm usually fine with 8:1 - but wide shots with high contrast and e.g. moving branches/trees in the background can cause problems (artifacts) at this ratio... so for such shot's I'd use 6:1/5:1 or the like (that's why you should check your footage full-rez or zoomed in from time to time -> no chance to see this on the 5inch touch display only)...

 

[Daniel Pitta]

Good

 

[Peter Strietmann]

I can shoot at 7:1 all day long and the fans don't kick on during takes. Even loooooong takes. It keeps everyone happy on set.

 

[Robert Ruffo New]

8:1 is most often fine until:

1 - You have to do a grade with heavy HSL-qualified modifications - then you will see under the magician's cape in terms of how Redcode hides the fact that it is compressed.

2 - You are shooting a compression-greaker type scene. This might include sharp moving water, sharp moving leaves (in both case either they are moving, or the camera) or one time I got bitten by very sharp, deep depth of field shot of crowds of people on a sidewalk, and another by slow-moving finely woven fabrics.

Hard drives are cheap, so we just shoot 5:1 all day and leave it there, with a few dips to 3:1 if we know a scene will be graded heavily.

Compression does not affect fan behavior either way, to my knowledge, as its the sensor is what's generating the most heat.

 

[Peter Strietmann]

"
Compression does not affect fan behavior either way, to my knowledge, as its the sensor is what's generating the most heat. "

WRONG.

 

[Shane Kelly]

"
Compression does not affect fan behavior either way, to my knowledge, as its the sensor is what's generating the most heat. "

WRONG.

Can you expliain why, rather than just shooting down the idea?

 

[Brandon J.F.]

Can you expliain why, rather than just shooting down the idea?

I don't know if it's true, but it does make sense. The more something is compressed the more processing power (or time) that is required to compress it. Assuming the time to capture, process and compress clips is fixed regardless of the compression ratio then the camera would, theoretically, work harder to compress footage that is encoded with a higher compression ratio resulting in more heat being generated by the camera and the greater likelihood that fan use will be increased to keep the camera cool.

 

[Daniel Pitta]

3.0 + pix 240i