- Banned
- #1
Tim Naylor
Banned
I'm somewhat new to this board. I've been learning all I can before I take delivery on my RED in a few weeks. I've shot film for the last 20 years and video for at least half that. I have my first RED job next week. It's quite exciting to break my Red cherry.
That aside.
The one thing that seems to pop up is the issue of RED's effective ASA. After talking to several DP's as well as watching this most informative interview with Rodney Charters ASC http://www.reel-show.tv/index.html?vidId=00074 it seems that above 250-320, the chip begins to introduce noise. Though Rodney Charters never explicitly said so, I feel that the show he DP's, "24", may have stayed away from RED because being a big available light show, 250 asa limits their lens options. I also have an inside info that Law and Order passed on RED for similar issues (it's shot on Genesis now at 1080). Which is a shame.
Further in Charter's interview though, he explains that he feels 1080 Pro Rez is an excellent finishing option and that for broadcast there seems to be no compelling reason to finish or deliver in 4k for now.
Which leads me to try and elicit a discussion, petition, whatever you want to call about the possibility of RED developing "the RED Broadcast Chip". This would entail a 2k chip that comes in Super 35mm dimensions, instead of the current cropped 2k at app 2/3". Since smaller pixels lower ASA, the purpose of this would be to have a chip with a significantly bigger pixels hence higher ASA (500-640 or so) and still retain the full frame super 35mm image.
As Scarlet and Epic will be embracing optional chip designs, I think this would be a good option to have. Most projects will be shooting for the small screen. I feel 2-3k is more than adequate resolution for that. However, this seems to fly in the face of the new announcements sentiments of reaching for the sky in terms of resolution. I hold my breath for the 1000 Mega Pixel 1 foot x 2 foot Uber Monstrosity imager announcement at NAB.
Jokes aside, if this is a major hurdle or if there's any demand for such a chip or if RED just doesn't see going backwards in rez is of any interest, I'd love to see a passionate discussion here. Are we to be stuck with low ASA's (relative to film) for the next few years or more? It seems to me it would be in RED's interest as a higher ASA option would drive the sales of their not so speedy zooms and their less than super speed primes. I'd love to be able to shoot with mostly available or street light on a zoom - even at 2k full frame or at a higher stop for other applications. Offering a lower rez, higher ASA chip would be like different film stocks in a way. As Kodak knew that one stock doesn't fit all, why not a similar approach with chips.
As I've noticed, many a thread here has turned into product reality.
That aside.
The one thing that seems to pop up is the issue of RED's effective ASA. After talking to several DP's as well as watching this most informative interview with Rodney Charters ASC http://www.reel-show.tv/index.html?vidId=00074 it seems that above 250-320, the chip begins to introduce noise. Though Rodney Charters never explicitly said so, I feel that the show he DP's, "24", may have stayed away from RED because being a big available light show, 250 asa limits their lens options. I also have an inside info that Law and Order passed on RED for similar issues (it's shot on Genesis now at 1080). Which is a shame.
Further in Charter's interview though, he explains that he feels 1080 Pro Rez is an excellent finishing option and that for broadcast there seems to be no compelling reason to finish or deliver in 4k for now.
Which leads me to try and elicit a discussion, petition, whatever you want to call about the possibility of RED developing "the RED Broadcast Chip". This would entail a 2k chip that comes in Super 35mm dimensions, instead of the current cropped 2k at app 2/3". Since smaller pixels lower ASA, the purpose of this would be to have a chip with a significantly bigger pixels hence higher ASA (500-640 or so) and still retain the full frame super 35mm image.
As Scarlet and Epic will be embracing optional chip designs, I think this would be a good option to have. Most projects will be shooting for the small screen. I feel 2-3k is more than adequate resolution for that. However, this seems to fly in the face of the new announcements sentiments of reaching for the sky in terms of resolution. I hold my breath for the 1000 Mega Pixel 1 foot x 2 foot Uber Monstrosity imager announcement at NAB.
Jokes aside, if this is a major hurdle or if there's any demand for such a chip or if RED just doesn't see going backwards in rez is of any interest, I'd love to see a passionate discussion here. Are we to be stuck with low ASA's (relative to film) for the next few years or more? It seems to me it would be in RED's interest as a higher ASA option would drive the sales of their not so speedy zooms and their less than super speed primes. I'd love to be able to shoot with mostly available or street light on a zoom - even at 2k full frame or at a higher stop for other applications. Offering a lower rez, higher ASA chip would be like different film stocks in a way. As Kodak knew that one stock doesn't fit all, why not a similar approach with chips.
As I've noticed, many a thread here has turned into product reality.
