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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 :)

dsmc, an extreme case of overbombing...

W

wondocam

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to be honest, 6k, 9k, 28k... who will need this in the next 5-10 years?

i think the percentage of guys on this forum ever having seen their footage projected in 4k is less than 1%, if a least 1%.

it`s nice for marketing to announce all of this, but...

i`d rather like to see the guys working on a real world project.
the redone is ok to work with, after 17 builds of updates now, and i shurely would like a nice little scarlet preview camera that can switch between canon and pl and that i can use for speciality work in tight places, insane rigs etc..

but has anyone of you ever been asked to produce on 6k? 9k? or above??
or handled data like this?
i mean under normal working conditions where you can`t wait forever on everything, with clients sitting in your neck, and delivery dates?

shure i`d like to be able to play a little david lean and shoot 65mm, digital...
and while it may be possible to produce all the data in recording, it will take apple 20 years to build machines to handle that.

would`nt it be better to focus a little bit on what you really need in the field?
arri does that, the workflow possible with a d21 is far superior to red.
it`s "only" 2k, but with a far better image quality.
and at the moment my clients want 2k and thats it, and when the time comes when 4k will be a reasonable choice there shurely will be an upgrade possible.

all my working life i`ve been haunted by arri`s cryptic interfaces, and now this honor is passed on to the redone`s interface.
i mean in a stressful situation on the set, it takes you forever to change from 25 to 50 fps, long enough to be screamed at :-)

higher iso, lesser noise, faster response, more stops in the chip.. etc.
that would be the real revolutions for me.

i bought every digital 1 series canon straight when it became available, more resolution... more resolution...
but now i`m really considering stepping down to a 5d mkII, not because of the hd capturing gadget feature, but because of the high iso capabilities, thats what`s really revolutionary about that camera.

theres things that really count in photography, especially when you are living of it, and giant sensors with insane resolutions are shurely not the biggest issues...
 
JanneSFE said:
Microsoft once said "Who ever need a computer with more RAM then 640kB?"

Cheers :)
Click to expand...
True. True.

Give people 28K and they will find ways to use it and then complain not having 32K.

I bought a set of lights two years ago which at that time I thought was more than enough for what I did. Today I have tripled the amount of lights I have and am still buying more to achieve what I want.

What seems ridiculous today will fit perfectly in the future. What I don't understand is how come a small group at RED has achieved more than the Sonys, JVCs and the Panasonics with their huge R&D departments?

Passion truly overrides numbers.
 
Higher DNR was indeed one of the most interesting things announced and is what's going to make a lot choose the FF35 over the S35, even though I cannat see too many people needing the larger chip.

I can see a lot wanting the higher DNR, though.

As to the monster-cam... After thinking for a while, I can see some uses for it.
The fun part is that it is still a bargain, as an image capture device. Not so sure where you'll find optics for such a beast, though, but it should definitely give the DOF hungry something to think about.

Gunleik
 
Hi,

Large format are used for VFX all the time & cropped when shooting film, why should that be different on digital?

Stephen
 
Hey wondo, good to see you here :)

Don't worry, we'll have you well covered for Scarlet and EPIC next year if you head this way again. It should be a great fit to the rig you put together on the last shoot!

Hope it's all looking good anyway. The 4K HD downconvert to 1920x1080 should make for some super sharp, extremely low noise footage!

Cheers from Tokyo,

Paul
 
Although the 6x17 is clearly a (not uncommon) stills format, I can see applications for the motion capture for plate shots. Probably unnecessary but imagine those large format plates that can be move around and positioned behind green screen work but now with motion. Trees waving in the breeze, clouds rolling etc. Overkill maybe but certainly an application and resulting in an image as yet unseen or at least, less work in post matting in snow or rain or fire.
 
wondocam said:
to be honest, 6k, 9k, 28k... who will need this in the next 5-10 years?

i think the percentage of guys on this forum ever having seen their footage projected in 4k is less than 1%, if a least 1%.
Click to expand...
Yeah, I kinda agree. I've seen stuff shot at 1080p that looked OK on a big screen but...

I don't think the resolution is actually the point here - think about the sensor size and what that means for depth of field, circle of confusion, field of view etc. Most of the sensors have very similar pixel density but it's the physics of larger target areas from which we will see the major advantage IMHO.

The 6x4.5 and 6x17 imagers are for the stills world. They're fairly standard over there and that's clearly the major intended market for them. The fact that they can shoot motion is just cool.
 
It's never enough...

Other than planning to upgrade my RED, at some point, to the EPIC FF35, I'm so excited over the 28K 617. I probably can't justify having it and the EPIC, or at least not right now. But maybe in 2 years I can. The possibilities of that 28K frame for FX work is just mind-blowing.
 
Jeff Kilgroe said:
It's never enough...

Other than planning to upgrade my RED, at some point, to the EPIC FF35, I'm so excited over the 28K 617. I probably can't justify having it and the EPIC, or at least not right now. But maybe in 2 years I can. The possibilities of that 28K frame for FX work is just mind-blowing.
Click to expand...

It also opens up some interesting opportunities for special venue theaters and more flexible stock footage.
 
Deanan said:
It also opens up some interesting opportunities for special venue theaters and more flexible stock footage.
Click to expand...

When I first saw that huge chip size and shape I thought "Cinemascope?"
 
wondocam said:
to be honest, 6k, 9k, 28k... who will need this in the next 5-10 years?
Click to expand...
Because [digital] images shot in their native size never look as good as ones which are oversampled. If you want the best looking 1080p image possible, I'd say a 6K sensor is about where you should aim. I know I'll catch flack for that, but it will make sense when the images start coming down the pipes. The 9K sensor is going to make phenomenal 4K/big screen blowups. The 28K... yeah, that's probably overkill. :-)
 
9k for broadcast TV is already in development. Look up 'super hi-vision' and be amazed. That's your 9k market right there.
 
For the 28k, I see that as making sense for ultra-large displays in advertising both for still and video. The 25fps allows them leverage so if there is a massive digital display they can have a short clip play on the ad over and over if they want to instead of just having a very high quality still.
 
I have nothing valid to add here other than I was a serious Sisters of Mercy freak for a long time, and still terrify my kids occasionaly with "Marian" and "Flood" at high volurme... and appreciate the reference in the title.

Lucas Wilson
------------
VP of Retired Goth Freaks
ASSIMILATE, inc.
LA, CA, USA
 
28 k

28 k

9K : Hope you are right about that - it'd be a blast to go after that opportunity.

28K : Shoot a "still" sequence at 25 fps to find the one that's the keeper....and lots of non-traditional applications.
 
Build it and they will come :)

Seriously, 28k opens up a whole new world of possibilities and people we've talked to are already planning to do some amazing things with it. I can't wait to get my hands on the 617. It's about the resolution alone, it's about defining a new canvas for motion imaging.
 
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