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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 :)

A case for 3K

Erich Ocean said:
Shoot 3K 2:1, crop to 2400x1350, and you've got an S16mm-sized sensor area with a clean debayer to 16:9 1080p (add letterboxing if you need 1.85:1 or 2.4:1).

The set of 6 Illumina s16 primes is just $12.5K.

If Red made a special "s16" mode that was this exact capture size, we'd get both higher framerates (180fps on Epic) and less date recorded to the SSDs. Not that I'm suggesting this, or anything. Just an observation. An Idea. Perhaps. ;)
Click to expand...

The 2k record mode of the Scarlet X should be very close to S-16 image size (if we consider Phil Holland's sticky Scarlet X Data Sheet).

But I am not sure, weather the Scarlet X can actually record 2k or not.
(It has often been said so in this forum, but you don't find the 2k acquisition format for Scarlet X on the red.com tech specs.)

An exact S-16 sized record mode would of course be slighty better than a 2k raw recording.
Would be great, if this could come to life.

My concerns with 3k recording are the wide angle lens options, as you cannot adapt any micro 4/3 glass on a camera with PL or Canon mount.
So you have to work with 35 cine glass.
Or stills photo lenses, which are not flexible enough for my documentary work (handling of focus and iris control).

So I try to prepare myself to put your suggestion into practise:
cropping a 3k image down to the exact S-16 size, in order to be able to use great S-16mm zooms and primes.

As I don't know yet how this would work, I am mostly interested in finding out,
weather I can see my S-16 equivalent aspect ratio in the EVF when shooting.

Is there any way to upload my "cropped ratio specs" from Redcine x back to my Scarlet and get it shown in the viewfinder??

Am wondering...
 
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Great idea!

Great idea!

Erich Ocean said:
Shoot 3K 2:1, crop to 2400x1350, and you've got an S16mm-sized sensor area with a clean debayer to 16:9 1080p (add letterboxing if you need 1.85:1 or 2.4:1).

The set of 6 Illumina s16 primes is just $12.5K.

If Red made a special "s16" mode that was this exact capture size, we'd get both higher framerates (180fps on Epic) and less date recorded to the SSDs. Not that I'm suggesting this, or anything. Just an observation. An Idea. Perhaps. ;)
Click to expand...

+1 on what Erich suggests here... I would be thrilled to death with this and would happily use it on our upcoming shows.
 
I completely agree. I am going to shoot mostly in 3K. The only time in 4K will be the green screen.

Well at this point. Maybe later in the future when I can afford an epic.
 
BrandonChristensen said:
If we are to use an ATOMOS Ninja, would we be recording at the full 4K crop (1.3x)?
Click to expand...

Any external device takes the feed that you tap out. If you can see it in a monitor, you can record it on the Ninja, or the Pix 240, or a Ki Pro.

Epic/Scarlet are told to look at a certain amount of the sensor and RECORD THAT. "Hey! Scarlet! Record 4K worth of the sensor!" "Yes sir! Now what?"

Then you tell Epic/Scarlet what to do with it in terms of display, separately: "Hey! Scarlet! Feed out that 4k worth signal as a 1080p! I want to see menus and overlays as well so I can keep an eye on that time code of yours! "Yes sir, Sir!"

In layman's terms, Scarlet is debayering and downressing (but not cropping! Very important distinction) on the fly in order to output that 1080p feed. That is the limit of that HDSDI or HDMI feed though; you'll never get a 4K output via those, because those connection specs just aren't designed for that kind of data throughput and transfer. You also will not get Raw Redcode out that way, since the stuff you're getting is already being debayered and downressed. Let alone flipped to a different format (usually ProRes on the Pix or Ki Pro) and baked into that format.
 
My concern with external recording devices is this:
Your DELIVERED product now has to be taken from that 1080 feed format. There is no 3K or 4K RAW file to post. If it is Pro-Res, there are tools and software, but your final product won't be better that that 1080 monitor feed.
Is this a problem? It depends on your project and your workflow.

Do you have to modify your lighting or exposure or anything to optimize your now-1080 footage?

We need some cameras in our hands and beta-test these devices before we risk spending 20 grand inventing the $5,000 camcorder that has no significant benefit over a JVC.
 
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I'll have to remember that the next time I sign on to shoot a 300 fps feature.

Seriously, what is this feature for?
 
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