Welcome to our community

Be a part of something great, join today!

Log in
  • 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 :)

ProRes and Weapon

Awesome, this puts RED in a competitive position.

I'm guessing UHD means 3840x2160?
Or is the 4k DCI Full container 4096x2060 also available?

I'm hoping its the 4096 since it already is the 1.91 aspect ratio of the Dragon FULL sensor.

Also, by that screenshot it looks like 4K Prores is only available when you do not capture R3D at the same time.

Great news!
 
2 weeks from now forged, so that probably means woven CF start to trickle out in... august, or is that to much to hope for? Really miss having a camera our dragon got stolen right before nab and I figure i rent until weapon comes, in retrospect I would probably been much better of buying a dragon in to use in the mean time but getting all the old accessories just to use them for a few month did not really feel right.

UHD proress, again very interested to see if it helps noise levels.
 
From Jared, "Feeds are more for the Looks you put on each format. For REDCODE, FEED B you may have set to be RG4 and FEED A you might have set a 3D lut that you want to bake just onto the ProRes. Super flexibility. You choose the actual different recording formats higher up on the menu."
 
Mark L. Pederson said:
6K ProRes is actually the most stupid thing I can think of. No offense David - you know I love you :)
Click to expand...

I'll never use it either, Colour backed codecs yuk, Like shooting JPGS with no colour control.
Ill be sticking with RAW for ever more.

However... If I need to make a video for some uber quick. then I'll slide down into PRORES to get it out the door.
Other than that, I love the control of RAW. Not baked.
 
Nick Morrison said:
Bjorn how clean do think Weapon Prores will be? A7s clean?
Click to expand...

I've been off the forum for a bit. Catch me up please: I assumed that Weapon 6K was a the same sensor as current Dragon. Has there been a definitive statement otherwise? Thx!
 
Zeb B said:
I've been off the forum for a bit. Catch me up please: I assumed that Weapon 6K was a the same sensor as current Dragon. Has there been a definitive statement otherwise? Thx!
Click to expand...

It is, but the Quicktime feed is theoretically coming straight off the sensor so there was the discussion that it will have less noise, be more sharp, and have better colors than a compressed R3D. The idea was that by recording native prores, the quality is far superior to going from an R3D which is already compressed to a transcoded quicktime format. Therefore in theory there should be much less noise due to downscaling in camera and being straight off the sensor as opposed to being converted from an R3D file.
 
Bob Gundu said:
From Jared, "Feeds are more for the Looks you put on each format. For REDCODE, FEED B you may have set to be RG4 and FEED A you might have set a 3D lut that you want to bake just onto the ProRes. Super flexibility. You choose the actual different recording formats higher up on the menu."
Click to expand...

That's quite an amazing little camera.
 
Matt Ryan said:
It is, but the Quicktime feed is theoretically coming straight off the sensor so there was the discussion that it will have less noise, be more sharp, and have better colors than a compressed R3D. The idea was that by recording native prores, the quality is far superior to going from an R3D which is already compressed to a transcoded quicktime format. Therefore in theory there should be much less noise due to downscaling in camera and being straight off the sensor as opposed to being converted from an R3D file.
Click to expand...

Dang!! That's like magic. An A7s noise level in a RED with a direct to edit codec. That's like reading recently that Cuba has had the cure for lung cancer for years! Let's do this!!
 
Mark Toia said:
I'll never use it either, Colour backed codecs yuk, Like shooting JPGS with no colour control.
Ill be sticking with RAW for ever more.

However... If I need to make a video for some uber quick. then I'll slide down into PRORES to get it out the door.
Other than that, I love the control of RAW. Not baked.
Click to expand...

So you don't find QT LOG files gradable for properly exposed footage?
 
Peter.G said:
So you don't find QT LOG files gradable for properly exposed footage?
Click to expand...

They can be graded, but they cannot be pushed and pulled anywhere close to RAW.
 
Martin Stevens said:
They can be graded, but they cannot be pushed and pulled anywhere close to RAW.
Click to expand...

Mostly because the quicktimes are 10 bit or worse and furher more lossy compression ontop of lossy compression...(such process work has multiple bad effects, like 3:1 and then proress 10:1 is not like copression 13:1 more like 30:1).

if the UHD can be proressXQ then that is not far from a r3d if it is somewhat exposed right. But from jarreds picture it says UHD 422 proress, so I guess that limits the UHD proress feed to 8 bit.
 
Will the QT ProRes burn in the "look/lut" or simply make it MetaData?

This would be a very handy part of the ProRes pipeline so colorists can default back to RedLogFilm if the look/lut needs to be scrapped in favor of grading from log material.
 
Peter.G said:
So you don't find QT LOG files gradable for properly exposed footage?
Click to expand...

if you have absolutely nailed white balance, and exposure. Then prores is more than enough.
When I using my laptop. I use Proes all the time only because RaW files are to heavy for it. But before I do anything. I Color and gamma balance everything perfectly before I export as red log film.
 
Martin Stevens said:
They can be graded, but they cannot be pushed and pulled anywhere close to RAW.
Click to expand...
I have no problem dealing with QuickTime ProRes 444 10-bit log files, and they're used every day for American network TV series and some indie films. I would always prefer having the camera raw files just in case, but the only thing I ever have to tweak in there is color temperature. Everything else I can do within the existing color-correction controls. The key is just to make sure the ProRes transcodes are done correctly.

Bear in mind we never had raw controls available in film negative, and I had no problem correcting that for 25+ years.
 
Mat_G said:
Will the QT ProRes burn in the "look/lut" or simply make it MetaData?

This would be a very handy part of the ProRes pipeline so colorists can default back to RedLogFilm if the look/lut needs to be scrapped in favor of grading from log material.
Click to expand...

Unfortunately no, all "looks" are burned into QTs - the only way to access non-baked in metadata is a Raw workflow with R3Ds, which is why they are so popular!
 
Last edited:
Nick Morrison said:
Unfortunately no, all "looks" are burned into QTs because they are linear video - the only way to access non-baked in metadata is a Raw workflow with R3Ds, which is why they are so popular!
Click to expand...

The Arri Amira stores a 3D LUT in it's quicktime files so even when the recorded image is in Log certain programs will play it back with the 3D LUT applied, like Premiere.

The editor gets to look at a nice colorful image and when you bring it into your grading program you go back to working with the Log image.
 
You must log in or register to reply here.
Back
Top