REDCODE - What ratio? - pros/cons?

[Arnold F.]

That raises my esteem for the Oscars. Still negligible, but higher than before.

Best Cinematography Nominees are elected by professional cinematographers only. So yes, a film nominated for best cinematography is probably higher quality than even the best talking head on YouTube.

 

[Patrick Tresch]

But the RED ONE's Raw files are 12 bits where as the Scarlet and Epic's are 16 bits so... there is a lot more information in the Scarlet's Raw files.

But the compression ratio will not change... If you have a 100k or a 1k picture the compression ratio of 8:1 will be the same and therefore the compression quality of the picture is the same, we don't speak about the size of the file.

Patrick

 

[Michael Lamarra]

Thanks!

Thanks!

I'm always glad for these compression conversations, still learning a lot about it.

 

[Eric Santiago]

I'm always glad for these compression conversations, still learning a lot about it.

Even if the posts are old, the info is gold here in RU

 

[Blair S. Paulsen]

Note that the data rates being discussed in 2012 (42MB/s) were far lower than the 300MB/s of full spec DSMC2s and the reported 800MB/s of the Raptor. As noted on other threads, wavelets look decent at lower data rates, DCT - not so much. OTOH, with higher data rates, DCT can look as good - or even a little better - than a wavelet based codec.

IAC, unless things change (haha), the LQ version of DCT R3Ds is going to be the longest rolls you can get on Komodo/Raptor.

FWIW, for a sit down interview, you could potentially just record the SDI tap. With controlled lighting and accurate Kelvin fixtures, color should be just fine (especially for rec 709 distro) and the scene referred DR you're likely to have is 5-8 stops. 16bit RAW might be overkill ;-) - especially for a piece that will most likely be seen on an 8bit display.

There are certainly some interviews where the interviewee is a big deal and/or its destined for inclusion with other high end cinematography. Hopefully, when that's the case, production will rent high capacity cards and have a colorist in their budget...

Cheers - #19

 

[Brian Timmons]

IAC, unless things change (haha), the LQ version of DCT R3Ds is going to be the longest rolls you can get on Komodo/Raptor.

FWIW, for a sit down interview, you could potentially just record the SDI tap. With controlled lighting and accurate Kelvin fixtures, color should be just fine (especially for rec 709 distro) and the scene referred DR you're likely to have is 5-8 stops. 16bit RAW might be overkill ;-) - especially for a piece that will most likely be seen on an 8bit display.

Cheers - #19

As it relates to Komodo, one can also consider filming at a lower resolution like 5K or 4K for something like an interview which will also make better use of space and does not seem to heavily compromise the image quality.

So far I find myself filming more in 5K and 4K on Komodo and only bumping to 6K for the wider field of view or if I truly think I need the resolution.

I barely had my Komodos for a month so still learning the ins and outs of the new RED Code particularly how the compression looks at different resolutions.

I do think something like 2K is best at MQ and perhaps HQ.

I am also starting to think that the lower resolutions might really benefit from DCT RED Code as opposed to the older wavelet based.

The 2K from Komodo does look a bit less mushy compared to the 2K from older wavelet based REDs.
The edges look a bit more defined and the total image seems sharper as a result.

This is based on impressions and quick observations. I need to test this more.

Brian Timmons
BRITIM/MEDIA