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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 :)

Build 14 released: higher bitrate, 3K

im.thatoneguy said:
If you're finishing in 2k... Why not shoot at the higher 2k framerates?
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For the same reason one finishing in 2K would shoot on 4K... oversampling rocks!

Would you like to repeat the candybar test so I can upgrade to a "king size?" :tongue:
 
Stephen Williams said:
Hi,

If I ask for a 65mm I want a 65mm lens on the camera, end of story.

Stephen
Click to expand...

Not when you work with Dane. You don't even want to know what you get when you ask for an eyepiece leveler.
 
So in 3K land using Zeiss Primes a 10mm would be a 12, a 12mm 14, a14mm a 16, a 16mm a 20, a 20mm a 24, a 24mm a 28mm a 32, (takes breath)
a 32mm a 40, a 40mm a 50, a 50mm a 60, a 60mm a 75 a 75mm a 100, a 100mm a 135, roughly speaking for 35mm FOV.
Or put on a Zoom with remarked focal lengths.
I could dig it.
Mezmo
 
Häakon said:
For the same reason one finishing in 2K would shoot on 4K... oversampling rocks!

Would you like to repeat the candybar test so I can upgrade to a "king size?" :tongue:
Click to expand...


No more sugar for you! :biggrin:
 
I agree, put up the lens the DP asks for. They will learn quickly what the milimeters mean at 4k, 3k, 2k... We all call the wrong lens at times.... who cares. A DP needs to know how different size imagers will see lenses. It is learned pretty quick. :wink:
 
mezmo said:
So in 3K land using Zeiss Primes a 10mm would be a 12, a 12mm 14, a14mm a 16, a 16mm a 20, a 20mm a 24, a 24mm a 28mm a 32, (takes breath)
a 32mm a 40, a 40mm a 50, a 50mm a 60, a 60mm a 75 a 75mm a 100, a 100mm a 135, roughly speaking for 35mm FOV.
Or put on a Zoom with remarked focal lengths.
I could dig it.
Mezmo
Click to expand...

I have a real philosophical problem with remarking lenses from their focal lengths just because some DP or director can't wrap their heads around the field of view changing. I heard about a 2/3" HD feature where all the lenses were relabelled with their 35mm equivalent focal lengths. To me, on a feature, it literally takes you half a day to get used to the FOV of the different lenses in your package. The first time you put one of those lenses on the camera and see what it does, you remember it for the next set-up.

If you switch to 3K mode in the middle of a 4K shoot, you just have to remember that the lenses will have a slightly tighter FOV as a result so try out the next wider focal length prime. The only time I can see wanting to know the exact equivalent is when you have to match the 3K FOV exactly to a previous 4K version. Although in that case, let's say a shot where one take is 24 fps and then there will be a cut in the movie to a 48 fps version, it may be better to just shoot both takes at 3K so they match exactly in terms of resolution and FOV. Otherwise, you'd probably have to use zooms to be able to get exactly the same equivalent focal length because the prime set may not line-up exactly.
 
Häakon said:
Would you like to repeat the candybar test so I can upgrade to a "king size?" :tongue:
Click to expand...

Candybar test?

Did you put together a 4k scaled to 2k vs 2k windowed test?
 
I don't like how in Build 14 the right button on the LCD doesnt react as quickly as it had in build 12 and 13. it goes black for a moment where before it just punched in immediately. is this being addressed?
 
David Mullen ASC said:
I have a real philosophical problem with remarking lenses from their focal lengths just because some DP or director can't wrap their heads around the field of view changing. I heard about a 2/3" HD feature where all the lenses were relabelled with their 35mm equivalent focal lengths. To me, on a feature, it literally takes you half a day to get used to the FOV of the different lenses in your package. The first time you put one of those lenses on the camera and see what it does, you remember it for the next set-up.

If you switch to 3K mode in the middle of a 4K shoot, you just have to remember that the lenses will have a slightly tighter FOV as a result so try out the next wider focal length prime. The only time I can see wanting to know the exact equivalent is when you have to match the 3K FOV exactly to a previous 4K version. Although in that case, let's say a shot where one take is 24 fps and then there will be a cut in the movie to a 48 fps version, it may be better to just shoot both takes at 3K so they match exactly in terms of resolution and FOV. Otherwise, you'd probably have to use zooms to be able to get exactly the same equivalent focal length because the prime set may not line-up exactly.
Click to expand...
Hi David,
Just for camera sheets, editors, VFX guys, 3k will be closer to 35mm FOV
than HD. Possibly one of the advantages. I'd plan shooting 3K for the
whole shoot for those directors who prefer offspeed frame rates. Even shooting
4k and 3K quoting a 35mm FOV on 3K has it's avantages. The matching DOF
thing would not worry me that much.
Quoting consistant (rough)35mm FOV focal lengths keeps things simple for everyone.
Mezmo
 
It was 4K -> 1080p vs. 4K -> 2K -> 1080p, if I'm not mistaken. The point was to show why oversampling twice (and only a minor amount the second time) resulted in a slightly lower quality image than just oversampling once to 1080. And since I maintain that most people will be delivering in 1080 with their REDs and not in 2K, a 1080 scaled option was the preferred choice over a 2K one. But this was long ago when talk of such modes was not taboo... :-)
 
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