Noise, sharpness and resolution...

[Jannard]

Lots of captured resolution pays dividends.

Down-rezzing lowers noise. Up-rezzing magnifies it.

Down-rezzing also increases apparent sharpness. The converse is also true...

Shoot the best image you can capture in camera. That means the most resolution, most dynamic range possible. And make sure it is RAW. Color science is always getting better. Don't lock down in RGB too soon in the chain. Tools are coming that will give you all the transcode capabilities you would ever dream of.

It doesn't matter what format you are delivering to today... it is the captured image that matters. The math speaks the truth.

Jim

 

[Jamison Stark]

Word.

 

[Michael Mayda]

10-4

 

[Mike P.]

Hardware tools or software tools for these transcode capabilities?

 

[Michael Romano]

RedRocket2?

 

[Justen Nguyen]

Some people don't get it. But seeing is believing. Until someone can see it from production to post, to projection, many refuse to believe. It's just more convenient for them..

Shoot the best image you can capture in camera.

 

[Elsie N]

Redcine X Pro +?

 

[Jannard]

We'll keep sayin' it until it sticks.

Jim

 

[Charlie_Grinnell]

Red Rocket 2

 

[Elsie N]

stuck.

 

[Jannard]

Shooting 1080P masters makes as much sense as recording to tape...

Recording RAW and simultaneous DNX-HD, ProRes or H264 for editorial makes sense. Recording one of those for your master... doesn't. (rolls eyes)

Let me think. What else doesn't make any sense whatsoever?

Jim

 

[R. Gonzales]

So Jim,
These tools you speak of, would they happen to be a module extension or it this all about post or both?

I'm just asking.

Shooting 1080P masters makes as much sense as recording to tape...

Recording RAW and simultaneous DNX-HD, ProRes or H264 for editorial makes sense. Recording one of those for your master... doesn't. (rolls eyes)

Let me think. What else doesn't make any sense whatsoever?

Jim

 

[BRANDON JAMESON]

We'll keep sayin' it until it sticks.

Jim

PREACH!

 

[Justen Nguyen]

We'll keep sayin' it until it sticks.

Jim

Stuck.

 

[Christopher Probst]

Which is why I need a Dragon sensor like YESTERDAY! Help me help you! (Please?!)

 

[Joseph Coleman]

I think its very smart that you have not released a proxy module. Even now after Red has been around for years, I still see companies immediately rendering their clips to proRes with a redgamma 2/3 curve and using them throughout the pipeline all the way to the finish. The image is good. But, man if they only would do a little research and see that they don't need to do that anymore. I have my own camera with a computer and I edit in raw right up until my final render. I just hope that a proxy module doesn't diminish the efforts that companies like Adobe and Blackmagic are putting into accommodating Raw workflows. And just FYI Speedgrade is fantastic! it was annoying at first but I got used to it pretty quick.

 

[Dylan Macleod CSC]

I love my Epic - so please don't take this the wrong way. It is strictly a question I do not know the answer to and is entirely related to this post. I recently shot on Alexa and while sitting in on the transfer I asked for the colorist to show me how much he would feel comfortable zooming in. He went to 200% and the image still looked sharp. Even though it is native 1920x1080. Why is this? It kind of threw the argument I have always used "for" Epic out the window. Would love some ammunition to fight back with?

 

[Johnny Friday]

Let me think. What else doesn't make any sense whatsoever?

Jim

Tecate with clam juice

 

[Chad Lancaster]

I love my Epic - so please don't take this the wrong way. It is strictly a question I do not know the answer to and is entirely related to this post. I recently shot on Alexa and while sitting in on the transfer I asked for the colorist to show me how much he would feel comfortable zooming in. He went to 200% and the image still looked sharp. Even though it is native 1920x1080. Why is this? It kind of threw the argument I have always used "for" Epic out the window. Would love some ammunition to fight back with?

punching in on a tiny computer screen in 1080p and a huge movie screen in 4k are two very different beasts. When I use to shoot with a 4x10 view camera people would say it was way overkill just by seeing my website or 20 inch portfolio prints. When you see them at 10 feet long you marvel in all the detail. iPhone footage looks cool displayed on your phone...try playing that on an imax screen... Beauty of my epic is that I'm not pinned down to one delivery. My footage would play beautifully on an iPhone or an imax screen. Not all "cinema" cameras can say that.

 

[Dylan Macleod CSC]

punching in on a tiny computer screen in 1080p and a huge movie screen in 4k are two very different beasts. When I use to shoot with a 4x10 view camera people would say it was way overkill just by seeing my website or 20 inch portfolio prints. When you see them at 10 feet long you marvel in all the detail. iPhone footage looks cool displayed on your phone...try playing that on an imax screen... Beauty of my epic is that I'm not pinned down to one delivery. My footage would play beautifully on an iPhone or an imax screen. Not all "cinema" cameras can say that.

But I was in a high end suite on a Baselight viewing on a (roughly) 6'x10' screen?