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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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Jannard said:
WB is going through their library now and re-scanning film at 4K for re-release.

Jim
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You can do that if it's all on the film. After 1993 though that process is going to get progressively more difficult.

There is going to be a hole in films from about 1999 - 2010+ where doing that will be ridiculously expensive. Many FX houses have gone out of business. Source files will be lost. Scenes built off of databases and pipelines would have to be rebuilt. It's difficult to defrost a 4-5 year old project. I hope DI packages have good forward compatibility as well.

Think about how many FX shots are in every film coming out this year. Even romantic comedies are full of green-screen and set extensions now. You can't just up those to 4k with a re-scan.

If you want to future proof your film for 4k. Shooting it in 4k isn't enough. You have to finish it in 4k as well. Otherwise your film will probably always be 2k unless you are of huge historical or financial significance. Or until it becomes trivial to redo all the VFX better than the original (See Star Wars - Special Editions).

I can see a film which just went through a DI getting redone in 4k. I have a difficult time seeing the financial cost of redoing VFX warranting the expense.
 
I've just have got email news letter from ARRI where was written:

"After an extremely warm welcome at the NAB Show, ALEXA is here and we have a lot of news about this groundbreaking camera system for you.
Not only is ALEXA garnering praise for amazing image quality, dynamic range and sensitivity, but the camera has been lauded by the postproduction
world for the efficient and flexible workflow they have been waiting for."

Also I'm still thinking in a way Alexa vs. RED ONE and not at all Alexa vs. Epic.

Why?

Just because Epic is too advanced cinema digital camera system that I think Alexa is not in the same league and can't compete with it.

Now go back to Alexa vs. RED1 comparison.

Arri claims that Alexa has "the efficient and flexible workflow that the postproduction world have been waiting for".

How can RED1 compete with it?

Simply you can add AJA KiPro 422 ProRes recorder to your RED1 system

or BMD Intensity Pro HDMI capture card installed on your Mac Pro and then you get the same thing as ARRI's

"efficient and flexible workflow that the postproduction world have been waiting for".

Also if you could get the Gefen Wireless HDMI Extender and then you would be able to sent wireless your HD footage to AJA KiPro ProRes recorder

or to BMD Intensity Pro HDMI capture card installed on your Mac Pro or PC.
 
hdtv.png

A little humor for the 2k vs 4k discussion.
 
Every new TV system introduced has, at the time of introduction, been referred to as "high definition", which makes black and white 405 line TV "High Definition", almost by definition!

Graeme
 
How can RED1 compete with it?

Simply you can add AJA KiPro 422 ProRes recorder to your RED1 system and then you get the same thing as ARRI's

"efficient and flexible workflow that the postproduction world have been waiting for".


Actually, you can't, at least not with a Ki Pro. The Alexa records in Pro Res 4444, while the Ki Pro, being only single stream HD/SDI is only capable of Pro Res 422. Aja has stated this on a couple of other forums.
 
4K? BAH! Bring on 9K Projection? But here's the important question: is it over 9000 ?! =)
 
Jannard said:
WB is going through their library now and re-scanning film at 4K for re-release.

Jim
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"Everything is proceeding as I have foreseen it...."

pre·science –noun

knowledge of things before they exist or happen; foreknowledge; foresight.

When it comes to prescience, Jim is rivaled only by Darth Sidious from the Star Wars movies.
 
Kiernan McMahon said:
Please define what you mean by "Wobulation" as I am not familiar with this term, or it's implications
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It means shifting a lower-res imaging panel (i.e.- "wobbling" it) back and forth and displaying alternating sets of pixels to build up a higher res picture than the panel is natively capable of. Almost like "interlaced digital".

Jeff is 100% right... JUST SAY NO!

-sc
 
Eirik Tyrihjel said:
You have a 50mm lens on set, but you wish you had a 65mm, well you don´t, so you shoot with your 50mm taking into account that you are shooting 4k (or even 5k starting this fall), when in post, you crop in, export to 1080p (or 2k), and Voila! There is the 65mm you didn´t have...
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Or, instead of shooting with two cameras, one on a medium shot, one a close-up (how they shot a dialogue scene on the latest Affleck movie), use one Red, and get both mediums and close-ups from the same footage!

Scott Crawley said:
OR
You are DP on a film and the editor has no clue what good composition is. He re-frames a bunch of your shots and now your work looks like shit. It can go both ways. :-(
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Sometimes the edit needs a different crop (or look) when it's sequenced together. That doesn't bother me. In fact, I might even feel chagrined for not getting complete enough coverage. But most important is to work with a director whose vision you trust. It is their movie, after all.

Rob Ruffo said:
I'd love to see it moving. Any of you guys ever see a Vermeer in person? It's really inspiring.
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My favorite one is at the Met. The girl playing the lute. Unfreakingbelievable.
 
Dexter Gregoire said:
Perfectly said. I have done that many times. Reframe a shot is so beautifully easy with a 4K R3D file. It actually saved me just as Sanjin said without having to reshoot. I make sure the eyes of my subject are in frame though:thumbsup:.
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let's not forget movement stabilization, even adding little creeping zooms to things like interviews or other dramatic moments, that on set you didn't think of doing due to fatigue/stress/fear.
 
Scott Crawley said:
I don't think a Betacam or a R1 is very well suited for weddings at all. There are far more reasons than I am interested to list in the case of the Betacam, and it is way OT.

As many have said, a Scarlet fixed promises to be a fine wedding machine.
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I think if I did weddings, and showed up with an R1 (let alone with MX) that the couple would be pleased (except with the bill for my time, let alone the Red rental)
 
Kemalettin Sert said:
Holy... i wrote HDSLR days ago on my post but it seems as a betacam now.What the hell?
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It's the analsphincterbot, programed by Loki. There are a few words it edits, just to make communicating on the boards more fun and less accurate. It's like roulette or craps.
 
Scott Crawley said:
It's the analsphincterbot, programed by Loki. There are a few words it edits, just to make communicating on the boards more fun and less accurate. It's like roulette or craps.
Click to expand...

more fun and less accurate? calling vDSLR's as a Betacam is insult imho.Cant see anything like in dvxuser.Go try it write RedOne on dvxuser,dvinfo,cinema5d and others..
 
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