Jon Farhat
Red Team
Subject: Visual Effects Lineup to the Red Picture plane.
There have recently been a lot of questions about RED image plane>lens>CG relationships.
The following CHART should help in the creation of CG lenses for all RED formats.
http://jfi.net/RED/REDFormats3.pdf
One very important thing to keep in mind. The RED ONE is designed to be a 4K camera. It's near perfect match to the standard 35MM picture plane to lens relationship requires it to use the full range of Pixels per inch. You should always shoot 4K if you want to match the look of a 35MM filmed movie, ie: depth of field and physical resolution of edges. Shooting resolutions lower than 4K are achieved by windowing in (on center) of the chip. Essentially, the effective chip size gets smaller as the resolution gets smaller. THIS IS ACTUALLY QUITE BRILLIANT! Why spend the time sub-sampling at the camera stage to get a 3K or 2K when the codec is so efficient to make the suite of software tools an easy conversion to any format from a 4K master.
As anyone in VFX will tell you, it usually helps to over-sample, ie: bigger stock, (VistaVision, 65MM, etc.) or in some cases 4K scan of your Full Neg. In any case, 4K RED is your friend, even if only used as a high-res master and you worked from sub-sampled 2K Material as a working and output master. Also, CG cameras and lenses need to match the lens to image plane relationship to match up properly.
j.
There have recently been a lot of questions about RED image plane>lens>CG relationships.
The following CHART should help in the creation of CG lenses for all RED formats.
http://jfi.net/RED/REDFormats3.pdf
One very important thing to keep in mind. The RED ONE is designed to be a 4K camera. It's near perfect match to the standard 35MM picture plane to lens relationship requires it to use the full range of Pixels per inch. You should always shoot 4K if you want to match the look of a 35MM filmed movie, ie: depth of field and physical resolution of edges. Shooting resolutions lower than 4K are achieved by windowing in (on center) of the chip. Essentially, the effective chip size gets smaller as the resolution gets smaller. THIS IS ACTUALLY QUITE BRILLIANT! Why spend the time sub-sampling at the camera stage to get a 3K or 2K when the codec is so efficient to make the suite of software tools an easy conversion to any format from a 4K master.
As anyone in VFX will tell you, it usually helps to over-sample, ie: bigger stock, (VistaVision, 65MM, etc.) or in some cases 4K scan of your Full Neg. In any case, 4K RED is your friend, even if only used as a high-res master and you worked from sub-sampled 2K Material as a working and output master. Also, CG cameras and lenses need to match the lens to image plane relationship to match up properly.
j.
