Ah, sorry for the confusion... I see what you were meaning. Of course, that opens the door for "if we can still shoot at 27MBs, can we pump out more fps?" :tongue:
In that post, he means if you're concerned about working with 35mm DOF (as it's much more shallow and tricky to deal with than any 1/3" or 2/3" chip camera), shoot windowed 2K with S16mm lenses. Many of us WANT the shallow DOF, however, why is why 2K/windowed won't cut it.
Hehe, of course... but then again he has an even better chance of hitting the marks with a Varicam or F900! If you want 35mm DOF, you also have to learn to deal with it. That's just par for the course.
That's fine, but how are you going to deal with shooting slow motion in your "all 4K all the time" workflow? The reality is that 4K maxes out at 30p onboard, so for offspeed shooting you have to make a choice: do you shoot full-frame in 1080 or windowed in 2K? The difference in resolution between those formats is negligable, and I vote for keeping 1080 (even at the expense of even higher framerates in 2K), because at least then your footage is shot with the entire sensor and not a centered crop.
Would be nice.
That's a great point.
Perhaps we are getting a little lost in our grand dreams of 4K. However, remember that even if 1080p is the end goal, you'll still probably want to shoot 4K because of the resolution, RAW capabilities, and flexibility in post (cropping, etc.) - not to mention it preserves the best-quality master possible for the future. And the question is that if you are going to be doing any offspeed shooting - although both 1080 and 2K will give you enough resolution for a 1080p deliverable - how is it going to cut with the rest of your footage? Will the oversampled 1080 shots in RGB and not RAW make a noticable difference? Will the 16mm characteristics in the 2K-only shots be distracting? Which one will truly hold up better next to the 4K footage, which was oversampled in post and not in-camera? The truth is we have no idea until we get in the trenches and try it. But we can't eliminate 1080p until we have that information - which is why the issue of what formats stay and which ones don't needs to be resolved before the camera ships.
Yes, but apparently we get more dynamic range from the RAW image and have the ability to push it around further in post. It's similar to that of a workflow with a RAW dSLR image, although the REDCODE image has been compressed. I'm not so sure the RGB image is just going to "fall apart" compared to the RAW image like some would have you think, although Jim has really been pushing RAW lately and I don't know if that's inherently because the image really does look that much better or he'd just rather get rid of the legacy formats in the first place. Probably a bit of both.
Sure, and it becomes purely subjective at that point. But I don't see how one can make the motion to completely deny those who would prefer the 35mm option just because they would prefer the windowed. It's all about choices, right?
