Is RED working on a camera and sensor 12K and 17K?

[fgonz031]

RED should not be left behind because of the BlackMagic onslaught.

 

[Brian Timmons]

Not sure if you saw this thread which is similar.
I’m willing to bet RED at some point at least prototyped a sensor that is beyond 8K and likely a larger format than VV and is constantly evaluating the viability of higher res/larger format sensors.

I do remember Jarred Land mentioning that lenses (or lack thereof) was a stumbling block for pushing hard into Medium Format cinema cameras.

I think a key point of pushing this type of camera is timing not just for the market but also with getting the surrounding tech (lenses, sensor fab, processing, media, etc) in place where it all makes economic sense.

It takes time just to put something together.
It takes more time to get it right.

Brian Timmons
BRITIM/MEDIA

 

[Ruben Stuveling]

I think for RED the biggest challenge is not resolution but dynamic range. They should be working on an image pipeline that will enable them to finally challenge Arri in that regard. Resolution isn't nearly as important as marketing makes it seem. Just consider that the Alexa 35 is by far the most used camera in cinema at the moment and has a resolution just barely over 4K.

 

[Jeff Kilgroe]

Not sure if you saw this thread which is similar.
I’m willing to bet RED at some point at least prototyped a sensor that is beyond 8K and likely a larger format than VV and is constantly evaluating the viability of higher res/larger format sensors.

I do remember Jarred Land mentioning that lenses (or lack thereof) was a stumbling block for pushing hard into Medium Format cinema cameras.

I think a key point of pushing this type of camera is timing not just for the market but also with getting the surrounding tech (lenses, sensor fab, processing, media, etc) in place where it all makes economic sense.

It takes time just to put something together.
It takes more time to get it right.

Brian Timmons
BRITIM/MEDIA

Lenses are a huge factor. Most of the lenses that would cover true medium format sized image areas like 645, are effectively vintage at this point. And the only real cinema lenses would be IMAX. Newer “medium format” lenses don’t cover the film sizes of old in many cases. They have been modernized along with the digital cameras and backs that have seen a decrease in digital sensor size — the evolution of this tech has introduced some compromises that are really not compromises, but do have an impact on image attributes. The 44x33 size of current Hasselblad systems and their accompanying lens coverage is to 645 what APS-C / S35 is to FF35/ VV. That doesn’t mean a medium format cinema camera wouldn’t be desirable or that creating such a thing wouldn’t spawn some new lens options. …As our other recent thread here on medium format sized cameras talked about.

Other than larger formats, there are many ways RED and Nikon can and will continue to evolve sensors and cameras. Resolution is obvious and there are benefits to push to 12K, 16K and beyond. The ability for greater DR, faster frame rates, long exposure and multiple exposure stacking or hybrid exposures, multiple or hybrid shutter modes, etc.. So many of these features seem like they would serve niche applications but creative cinematography and VFX will find ways to use them all. Hybrid shutter readouts and stacked exposures are the holy grail right now for sensors being designed for machine vision, robotics, self-driving cars and such.