Could this be True?

[Sanjin Jukic]

Hi,

Yes an A list DOP compared Red with an F23 from Sony, the Sony had a greater dynamic range.

The F23 body costs about 10 times as much as a Red.

Stephen

I could repeat 1000 times that we cannot compare apples to oranges,

but some people do not want to give up.

Also finally we should not forget that main difference between RED and

F-23 is that F-23 use B4 Lens Mount and record just HD at 1920x1080 pixels

and RED can use all types of PL 35mm cine lenses, all types 35mm still photo manual lenses, also B4 lenses, etc...

and can record 4K at 4520 (h) x 2540 (v)

RED ONE

Sony F-23

Here below are listed Sony F-23 description, specs

Sony F23 main specs:

- Sensor(s): RGB-3 plate 2 / 3 type HD Power HAD EX CCD>>Effective pixels (H) 1,920 × 1,080 (V)

- Output>>HD-SDI OUT>>Dual Link HD SDI (4:4:4 RGB BNC × 2) (the use interface box)

- Out monitor HD SDI (4:2:2 BNC × 2) (YPbPr)

- Image record to: The HDCAM-SR SRW-1 portable recorder.

- Progressive system: 1080/23.98PsF, 24PsF, 25PsF, 29.97PsF, 50P, 59.94P
(50P, 59.94P is YPbPr 4:2:2 record only)

- Interlaced : 1080/50i, 59.94i

F-23 description and features:

List Price Not Available

The F23 camera system is the pinnacle of Sony's 2/3" CineAlta™ line of 24P acquisition products for digital television and motion picture content creation. Developed for cinematographers, the F23 camera, is designed so that all controls, indicators and menus adhere to cinematography conventions. The camera system can be directly docked to a SRW-1 HDCAM SR recorder. When docked to an SRW-1 equipped with the optional HKSR102 board, the F23 can record, in addition to overcranking and undercranking, slow shutter and interval recording the digital equivalent of accelerating, linear or decelerating speed ramps, effects; users can see the results immediately on the set without any additional gear. In addition, the F23 provides choice of 4:4:4 and 4:2:2 1080P imaging. The F23 camera system offers the performance, creative control and flexibility cinematographers need, as well as a compact and rugged design to withstand the challenging conditions often encountered on location.


F-23 Features

1080P RGB 4:4:4 image capture and signal processing.
Intuitive film work-style architecture. Controls, indicators and menus follow cinematography conventions.
Variable Frame-rate in 1fps increments over and under cranking
- 1fps to 30fps @ 4:4:4 mode.
- 1fps to 60fps @ 4:2:2 mode.
- Interval recording (with ramp control).
- Shutter angle can be varied from 3.9 to 360 degrees.

High precision 14-bit AD conversion and high bit order digital signal processing for high latitude (dynamic range), and a accurate color reproduction.

Five preset plus custom gamma curves.
- One preset 10-bit "S-Log" gamma for ultra wide latitude
- Four preset hyper gamma curves.
- Cinematographers can create custom gamma curves.

High precision, reinforced B4 Lens Mount.

Compact and flexible design, the camera can be mounted in confined spaces and operated from any side.
- Top or rear, direct docking to the SRW-1.
- Dual link for tethered applications.
Included "Assistant's Control Panel" duplicates all the camera controls and indicators on the camera body.

Compatible with SR Motion; interval recording, select FPS, slow shutter and digital accelerating, decelerating and linear speed ramps.
Directly compatible with ARRI cinematography accessories.
12V and 24V DC accessory power outputs.
Camera setup can be saved to Memory Stick® media.

Sony F-23 SPECS>>

RED ONE SPECS>>

Very soon in the following weeks I would be able

to show that RED ONE camera system CAN MOUNT Leica Noctilux-M 50 mm f/1.0

Leica Noctilux-M 50 mm f/1.0.

This lens is the most luminous series manufactured lens in the world for 35 mm photography,

featuring extraordinary traits, specially suitable for ambient light photographs under very dim luminous conditions,

being even able to make shots inside indoor spaces only lit with the light of a candle,

capturing the whole surrounding area with maximum sharpness and clarity.

This lens can even the fabled Carl Zeiss 50 mm f/0.7 manufactured for the NASA

and subsequently acquired by Stanley Kubrick – who adapted their mount for the 35 mm Arri cinematographic camera

and used them in the famous scene of the candles in Barry Lyndon film.

LEICA NOCTILUX-M 50 MM F/1: THE LAST EMPEROR>>>

Then we could talk about TRUE, DR, 4K, HD and many other things...

 

[Scott Brown]

Thanks for the render times guys...I guess I'm just having a few sleepless nights ahead of our delivery day which isn't that far off. I'm 100% sold on the Red picture quality, it's just the workflow + audio issues I'm concerned about.

1080 scaled from the full sensor - you are correct this would really be the icing on the cake!!!! Is this possible with the Red or are there problems in making this option a reality?

I guess with Moores Law still holding strong it cannot be long before we solve the Red render time issues.

Scott

 

[Maz Mawlawi]

Scott,

A lot of people are hoping 1080P scaled from sensor. Hopefully RED will deliver. And I agree....RED's picture quality is great.....it's just the workflow that really needs improved.

 

[Steve Sanacore]

OR 1080 scaled from the full sensor... like some of us have been clamoring for since day one.
Harry

Yes Yes Yes!!! Please!

But I am not sure that the limitation of a 4K to 1080P frame is not too much work for the current processors in the RED camera. Down rezzing and processing each frame for color, DR, etc, at real time would be quite a bit of work I think.

Hope I am wrong though!