Welcome to our community

Be a part of something great, join today!

Log in
  • 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 :)

Attitude adjustment...

Either 8k or 12k will be the final destination for resolution for big displays. We'll move towards projection on the eye after that, which completely fills your vision and maxes out the resolution of your eyes.... or perhaps some matrix-esque virtual reality plug in the back of your head. Hehe.
 
Sergio Perez said:
Well, it will be 4K with a fixed crappy lens and with probably a lossy codec. What I'm eagerly awaiting to see is the mass production of 4K displays. This will be the real impact in the industry, not 3D, in my humble opinion. NHK testing their 8K Broadcast might be another thing to look closely. I'm hoping that our 6K material goes well in this format. What concerns me is if broadcasters or content makers will skip 4K completely and go straight to 8K. Sony seems to be endorsing 4K, but, at the same time, its going to make an upgrade for 8K recording for their F65... All in all, interesting times!
Click to expand...

Yes fixed lens and not RAW most likely, but the camera is about the size of matchbox and costs 400$.
 
Roger Valdes said:
Either 8k or 12k will be the final destination for resolution for big displays. We'll move towards projection on the eye after that, which completely fills your vision and maxes out the resolution of your eyes.... or perhaps some matrix-esque virtual reality plug in the back of your head. Hehe.
Click to expand...

Maybe, maybe not, but there are a lot of other things that make cameras better that will always continue to evolve. I think RED should stop with the resolution war for now for the next model/update, stick with the 6K and give us faster frame rates, better battery runtimes and better ISO performance. Those are way more important now than going to 7K or beyond. Low light performance and battery runtimes are one of the things why RED cameras are not the best options for documentary stuff.
 
Josh Snyder said:
Maybe, maybe not, but there are a lot of other things that make cameras better that will always continue to evolve. I think RED should stop with the resolution war for now for the next model/update, stick with the 6K and give us faster frame rates, better battery runtimes and better ISO performance.
Click to expand...
A quieter fan would be nice, too... :beer:
 
This is really good help for us, reduced price.... this is amazing... Thank you, But i just want to ask, Currently where is the main manufacturing of RED CAMERA? because I have seen most of the RED CAMERA MADE IN SINGAPORE is it genuine? I was expecting that they are all made in the U.S.A. and not in SINGAPORE. Is there any RED CAMERA that is made in the U.S.A? Thank you
 
Marc Wielage said:
A quieter fan would be nice, too... :beer:
Click to expand...

Yes that is also more important then going up with the resolution. These features are way more important than 6k.
 
Quiet fans don't sell. Resolution does. Red is a for profit business and need to keep the game up and their competition catching up in resolution.
It's Reds clear and present advantage...
 
Jacek Zakowicz said:
Quiet fans don't sell
Click to expand...

Oh yes they do. I'm sure the 3-4 things I listed are more imporant to 95% of the RED users and potential buyers than going from 6K to 7K.
 
Fan noise? I find it rather quite, ofcourse it could possibly be better but compared to film... it's like you are not even rolling. atleast for the first 10 minutes. We did indoor shots with the camera like a meter and a half away from dialoge actors and had the fan set to 25% manual wich works better than any film camera I ever played with. My iphone is quite when it films, but then again it only shoots HD :)
 
Josh Snyder said:
Oh yes they do. I'm sure the 3-4 things I listed are more imporant to 95% of the RED users and potential buyers than going from 6K to 7K.
Click to expand...


OK. I don't think you get my point.
What sounds better for the sales:
We have quieter fans now!!!! (implying that the fans were loud before)
or:
We have 8K full frame sensor upgrade!
I'd venture to guess that the latter would help to sell more cameras.
But maybe that's just me....
 
Jacek Zakowicz said:
OK. I don't thing you get my point.
What sounds better for the sales:
We have quieter fans now!!!! (implying that the fans were loud before)
or:
We have 8K full frame sensor upgrade!
I'd venture to guess that the latter would help to sell more cameras.
But maybe that's just me....
Click to expand...

I got your point, but people who buy RED cameras have usually very good knowledge about most camera systems and will read/test/compare all features from different brands and models before buying. "FULL HD", "FAST MEMORY", these work for people who buy tv's or laptops from wallmart but not for people who buy high end cinema cameras.

Also I assume that you are only able to shoot 6K using the full sensor and if you shoot 5K or 4K the sensor is always cropping. I want to use the whole sensor and not crop it to the level of 16mm. So in few years we have to shoot 8K if we want to use the whole sensor and it will be pain in the ass to deal outside the studio and when working on post because of the ammount of data. It's harder to get people to jump on RED wagon when the only option to shoot using full sensor is to shoot 8K and use 10000000GB's of SSD's to save all the data. Even worse thinking the time spent on post production.
 
Josh Snyder said:
It's harder to get people to jump on RED wagon when the only option to shoot using full sensor is to shoot 8K and use 10000000GB's of SSD's to save all the data. Even worse thinking the time spent on post production.
Click to expand...

Just because it is possible to shoot a 10 billion:1 shooting ratio, does not mean it will be for everyone (irrespective of the format/resolution). Most of us will need to employ tried and proven production methods, and exercise restraint during acquisition -- in response to a litany of physical and post production concerns.
 
The beauty of redode raw is its different compression ratios. we an shoot Epic at 3:1 redcode, but red actually suggests for most situations to not go that far and shoot 5:1. I shoot many 120fps 5K WS footage, and that's 12:1 and looks absolutely stunning for broadcast and 1080p delivery...
 
Sergio Perez said:
The beauty of redode raw is its different compression ratios. we an shoot Epic at 3:1 redcode, but red actually suggests for most situations to not go that far and shoot 5:1. I shoot many 120fps 5K WS footage, and that's 12:1 and looks absolutely stunning for broadcast and 1080p delivery...
Click to expand...

That is a good point, but lets say I shoot 5:1 5K with the current sensor, what ratio I would have to use then with 6K Dragon to match the same quality and how much difference there would be in file sizes? I know we don't have the specs for Dragon yet so might be hard to answer...
 
Josh Snyder said:
I got your point, but people who buy RED cameras have usually very good knowledge about most camera systems and will read/test/compare all features from different brands and models before buying. "FULL HD", "FAST MEMORY", these work for people who buy tv's or laptops from wallmart but not for people who buy high end cinema cameras.

Also I assume that you are only able to shoot 6K using the full sensor and if you shoot 5K or 4K the sensor is always cropping. I want to use the whole sensor and not crop it to the level of 16mm. So in few years we have to shoot 8K if we want to use the whole sensor and it will be pain in the ass to deal outside the studio and when working on post because of the ammount of data. It's harder to get people to jump on RED wagon when the only option to shoot using full sensor is to shoot 8K and use 10000000GB's of SSD's to save all the data. Even worse thinking the time spent on post production.
Click to expand...

Dragon and meizler will most likly do very good downscaled full sensor HD...
 
Compression has more to do with your deliverable. If you're delivering something that requires 5:1 compression at 5k I'm quite sure you'll be fine with the same compression (or more) if you acquire for that same deliverable at 6k.

Also, anyone shooting for a 4k finish (which will be an increasing amount of us next year and probably quite a lot of us--perhaps even a majority of us--in 2014), will be glad they have the ability to shoot 6k for the re-framing possibilities and downsampling it offers. Right now, when shooting for 1080p tv we always acquire at QuadHD...and Directors/Editors (and even some DPs :) love being able to push in a bit in post...
 
Was thinking this and I wouldn't really like to compress the footage too much. I mean after all RAW is what we are after.
 
Originally Posted by Jacek Zakowicz
Quiet fans don't sell

Josh Snyder said:
Oh yes they do. I'm sure the 3-4 things I listed are more imporant to 95% of the RED users and potential buyers than going from 6K to 7K.
Click to expand...

As I am the developper of the FanPlate , I would be SO happy if you where right!
We are planning on a serie of 50 pieces... Out of 9000 or so Epic/Scarlet on the market.



Pat
 
You must log in or register to reply here.
Back
Top