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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 :)

Arri Alexa and Mysterium-X...

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Martin Stevens said:
I think this is FUTURE news. I think Jim implied that this would be possible in the future, and
not this Summer.

However, I hope my assumption is wrong.
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HEHE I hope your wrong too! I sounds like it could be a rather simple procedure too. Maybe a custom firmware reboot? If thats the case, its fantastic news. Some sort of voltage pinch/dump of the photosites? I'd love to hear more about this, even if its early days.:drool5:
 
David Mullen ASC said:
UCLA often shows b&w nitrate prints from their collection, as well as nitrate Technicolor dye transfer prints. There are select theaters around the world that have the right projection booth to handle the dangers of nitrate.

I saw an original nitrate print of "Citizen Kane" at UCLA that was quite stunning.
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Saw it here as part of the Montreal film festival. Was truly beautiful. There are certain shading subtleties that do not reproduce as the same using other means.
 
JD Holloway said:
HEHE I hope your wrong too! I sounds like it could be a rather simple procedure too. Maybe a custom firmware reboot? If thats the case, its fantastic news. Some sort of voltage pinch/dump of the photosites? I'd love to hear more about this, even if its early days.:drool5:
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My guess is that it will be a new sensor.
 
Martin Stevens said:
If you mean variable sensitivities via different camera brains then.....

I think this is FUTURE news. I think Jim implied
that this would be possible in the future, and
not this Summer.

However, I hope my assumption is wrong.

So in the Future you might be able to buy an Epic Brain
that is ISO 25 - 200, or a Brain that is ISO 200 - 2000 etc. etc.
:drool5::drool5::drool5:
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In that discussion on Cinematography.com Jim said:

"One clarification... with EPIC you can have an ISO 25-250 brain or an ISO 200-2000 brain. These aren't different brains... it is a quick mod to the same brain. Like loading different film stocks."

So, not different brains but modifiable brains. Even better.
 
@ Martin
I hope not, FF 35 is the next up.

You would hope they wouldn't have to reinvent the wheel for its integration into the S35 Epic, but progress is progress. Eventually a new s35 Epic mkII will be released, if we assume a 2-3 year product cycle. This could be before we see an Epic 617, given the lower demand for that format.

Edit! Jim's post above!
 
Jannard said:
Not a new sensor and it will be a fairly simple procedure.

Jim
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:biggrin5::001_tt1::smiley::drool: :drool5::sifone::hurray::beer::party::driving:

And there was much rejoicing!

I mean really; thats the proverbial "bee's knees".
 
Todd M. said:
Funny seeing that old picture. Brings back a lot of memories reading your articles years ago and learning a LOT!

Thanks Graeme.
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It was images like those macroblocks that started me off down the path of thinking about better codecs and ways to compress images.

Graeme
 
Jannard said:
Not a new sensor and it will be a fairly simple procedure.

Jim
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Fantastic news.....Thanks a million Jim!

I guess I should start reading your posts
on cinematography.com.

:thumbup1::thumbup1::thumbup1:
 
Graeme Nattress said:
RANT: "Good enough" - to me "good enough" is never "good enough". If you're going to put a year of your life into a making a movie, why would you use "good enough".

I started out with a VHS camcorder and Video8. It wasn't good enough. Moved onto SVHS. Not good enough. Then an old broadcast Panasonic MII. That was actually quite nice :-) But not good enough. Then it was miniDV and DVCAM. I missed out on the HDV cameras as they really were not good enough. I got fed up with the macroblocks when you pointed them at trees. (see: http://nattress.com/JVC_Artifacts.jpg )
Now I had a lot of fun with the original RED One, and it was better than anything else I'd used previously, but there was always room for improvement. Now I'm using M-X and it's fantastic, but every day I'm looking at ways to make it better still.

To me "good enough" is never "good enough".

Graeme
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This I fully understand and sympathize with. Been waiting for an affordable digital camera that can equal or better 16mm film for decades.

You can add 3/4u-matic and the various Betacams to the list of not good enough too. At least not at any level I can afford. The top of the line HD cams these days aren't too shabby.
 
Mike Prevette said:
I will always argue that resolution trumps compression
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you quite obviously have never needed to pull a greenscreen from an HDV or even worse - an h264 dslr shot. While this was supposed to be a big jump forward in quality the compression is so bad that it seems like we are in VHS land when it comes to greenscreening. Same thing goes for color correction - put a heavy look on heavily compressed footage in post and you are ending up with "impressionistic" compression patterns all over the place - if you ask me I take less compression over resolution any time - from a purely postproduction standpoint. Its one of the few reasons why I haven´t bought a DSLR - I can see big productions rather renting the Arri with a 2:1 compression then anything with a 10:1 compression if it involves lots of greenscreening - for my personal use the redcode100 or whatever scarlets ends up with will be good enough as redcode 42 is already borderline good enough especially if you down convert to 1080p.
Yet I can see big production rather go with an arri uncompressed if that is how they choose to market it they have a point that will resonate with decision makers.
 
With the RED though, you have resolution and good compression though. If you start with a low resolution, no amount of "un-compressed" will get that un-recorded detail back. And as Jim has pointed out, for when you need less compression, there are options in the new cameras for that. Not that you're likely to need it, but it's there.

Graeme
 
...raw data port back on the table?
 
Graeme Nattress said:
With the RED though, you have resolution and good compression though. If you start with a low resolution, no amount of "un-compressed" will get that un-recorded detail back. And as Jim has pointed out, for when you need less compression, there are options in the new cameras for that. Not that you're likely to need it, but it's there.

Graeme
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I love great compression.....as in Redcode compression.

What I really dislike is when some companies actually
through out Data before they compress.

So for me, a 4:2:2 image has had Data thrown away.
And when Sony etc. does the 1920 is now 1440 trick,
data is also thrown away.

What we need is Red and Redcode etc......cause it's
just so damn great!
 
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