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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 :)

confussed still...

Zakaree Sandberg

Zakaree Sandberg

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maybe im just extreamly tired and sick of sitting behind a desk.. but im confused.. do u have to shoot 4k in order to achieve a s35 frame? 2k only shoots s16 frame?
or does that even matter.. :confused:
 
The only way to get the exact s35 FOV with a given focal lenght is to shoot 4.5k. 4k is normal 35mm in 1:1.77 aspect ratio.

In the end it doesnt really matter that much. You still get 9 million pixels and just a slight crop compared to s35.
What you gain is Redcode RAW, and a true "sports finder" with a safe area outside the recorded frame.
 
zakaree said:
maybe im just extreamly tired and sick of sitting behind a desk.. but im confused.. do u have to shoot 4k in order to achieve a s35 frame? 2k only shoots s16 frame?
or does that even matter.. :confused:
Click to expand...

Why would anyone want to achieve a s35mm frame? 4K to Redcine should do for any type of work, really! VFX shots to good ol' drama.
 
I would want to shoot a S35mm frame because it's what I'm used to... no loss in DOF, no change in FOV, etc. Shooting 4K using the standard 35mm frame is good enough for now, though.
 
When shooting REDCODE 4K, the camera is only utilizing the 35mm portion of the sensor. The S35mm portion is remaining unused. That is to say that the S35mm area [full sensor size] is larger than the 35mm area [which will be used to shoot 4K].

As a result of a different sensor size, the FOV of a given lens will change. It won't change much, but it will change. You could crop that to a different aspect ratio [with 2.35 at the extreme] but you will technically be "throwing out" data with such a move. That doesn't actually bother me... but I'd still love to be shooting 2540p [which is currently impossible without shooting uncompressed RAW].

If the FOV/DOF issues are still unclear, I'll expand later.
 
ya, you might have too...
im not clear on the aspect ratio. Or if cropping will lower the quality. i understand that 4k is compressed with redcode and it looks fine (from what i saw at the la screening) basically this is all i want.. 1.85:1 or 2:35:1
2k or 4k... the use of nikon lenses and zeiss primes (rented of course), fast motion - 24 frames- slow motion... and i think thats it.. the technical stuff of image sensors and resolution is still just a blur for me.. i get the basics but thats about it.

oh.. and ii want to edit this on my own machine... (not send out to bring online).. i was thinking this is possible with redcode since it will be compressing 4k to 2k right?.. so basically.. shoot 4k redcode (use full 35mm frame) then compressed to 2k for edit... is that about right?
 
Yeah, right now shooting 4k Redcode RAW seems to be the best and most flexible option. Crop and scale will be easy when converting in RedCine

Editing wise, I think DVCPRO HD 1080p is currently a great option for FCP users, but lets wait and see if Greame et al. has something up their sleeves regarding editing codecs.
 
Yes, went for the natural look this time round :-)
Although I'm still in the IBC 2006 frenzy mode in the Pic...
 
So what's going to happen/what are the drawbacks to shooting windowed 2K with NON-16mm lenses (i.e., if you shoot with 35mm Nikon lenses).
 
Your lens FOV will decrease to that of S16mm. A 25mm lens on a S16mm camera is notably tighter [narrower FOV] than a 25mm lens on a S35mm camera. If you put that 25mm lens designed for S35mm and shoot windowed 2K, it will function just like a 25mm lens on S16mm.
 
The biggest drawback is the crop factor. The image circle of the 35mm lens is very large compared to the 2k sensor size.

A standard range of s16mm primes would be in the range 8-50mm

Those are pretty hard to find in the 35mm still range, especially at apertures below T4
 
I believe 4K plus 35mm lenses (motion or still) @35mm_format from the REDCODE capture will be the 99% route. After the 2K RGB drop, I also dropped my 2K option to 1080 RGB but only for slow motion purposes 'cause we can go from the 9.4 megapixels (around 400% more than 2K it's a lot! -- I'm buying a RED not a SI).
 
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