Overcranking at 4K? any news?

[Stephen Williams]

So just to clarify. Is it, or is it not possible to overcrank in any mode that would use the entire chip surface (or nearly so) and thus have 35mm depth of field properties.

IB

Hi,

Normal 4k will display 35mm motion picture film DOF properties.

Stephen

 

[Brook Willard]

720p@120fps using the full 35mm sensor is possible onboard.

[this is wrong: see below]

 

[Ralph Oshiro]

720p@120fps using the full 35mm sensor is possible onboard.

It is? I thought I had to use the 2K windowed sensor to get 720p120? So, you acquire with the 4K image area, employ in-camera scaling to 720p, using REDCODE RGB, and the result is 720p120 acquisition with the 4K depth-of-field characteristics? So, if that's true, I'll have to revise my workflow recipe, shown below:

My personal acquisition recipe [yet-to-be re-revised]:

A. STANDARD 24fps PHOTOGRAPHY:

1. Acquire 4K REDCODE RAW at 24fps, using the full 4K sensor area, using Nikkor 35mm still lenses [which effect a x1.62 cropping factor], taking full advantage of 35mm cine-sized, depth-of-field characteristics, and record to the on-board RED-DRIVE. Rescale the 4K REDCODE RAW image in REDCINE down to 1080p, and crop to desired aspect ratio [e.g. 2.35:1].

B. HIGH-SPEED 60-120fps PHOTOGRAPHY:

OPTION 1: Acquire 4K REDCODE RGB, at up to 60fps, using the full 4K sensor area, using Nikkor 35mm still lenses [which effect a x1.62 cropping factor], using the in-camera scaling to achieve a 1080p image (while still taking full advantage of 35mm cine-sized, depth-of-field characterisitics, but limiting your post-processing options), and record to the on-board RED-DRIVE.

OPTION 2: Acquire 2K REDCODE RAW, using the windowed 2K sensor area, at up to 60fps, using Nikkor 35mm still lenses [which now effects a x3.24 cropping factor in 2K], using the in-camera scaling to achieve a 1080p image (sacrificing your 35mm cine-sized depth-of-field characteristics, but still retaining all the benefits of RAW acquisition for later post-processing in REDCINE), and record to the on-board RED-DRIVE.

OPTION 3: Acquire 2K REDCODE RGB, using the windowed 2K sensor area, at up to 120fps, using Nikkor 35mm still lenses [which again, now effects a x3.24 cropping factor in 2K], using the in-camera scaling to achieve a 720p image (sacrificing your 35mm cine-sized depth-of-field characteristics, and limiting your post-processing options), and record to the on-board RED-DRIVE. Rescale back up to 1080p in REDCINE.

 

[Brook Willard]

You're right, my fault.

 

[Joe Walker]

Shoot, I'll take 120fps at 720p!

 

[Jeff Kilgroe]

720p120? F*K yeah! Awesome for lots of things, especially since most clients are still taking delivery on DVD or other SD format anyway. If the 720p120 is scaled down from the 2K window, that should be one heck of a nice upgrade from pixel-shifted 720p60 overcompressed 4:2:2, ickyness I get from my HVX200 right now.

And to think at this time last year I thought my HVX200 was the shiznit.

 

[Brook Willard]

Yes, to correct my previous post, the 720p120 is from the 2K S16mm window, not the 4K/35mm window.