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  • 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 :)

why 5k? go after uncompressed instead please

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azadfilm-jami

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hi Jim
I think i might be wrong that 4k is a pretty big format to be practical even this is an over kill for studios. So 5k is more than over kill BUT if we get true uncompressed from EPIC that would solve lot of issues wouldnt u agree or may be im off here :)

may the force be with u
 
I'l take as many Ks as I can get. Redcode RAW please.

Bring it.

Besides ... uncompressed with the current sensor vs. Redcode Raw on the forthcoming RED sensor ... I'd place all my bets on the latter -
 
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i agree but please remember that we really trying to kill film here and if the film is dead which is will be soon and what we end up is FILM LIKE so called then we will be the biggest loosers i swear.

4k is enough but instead of 5k R&D i say lets try to get 4k uncompressed or some less compression. or way to get 4 min worht of true RAW uncompressed Data on ur Raw drives. if not 20 min of compressed or 3 hours.

4 min of true uncompression should be an option atleast.

5k is uselss to be very honest. totally useless for most of us here. Even studio guys too. i think.
 
As usual, Mark speaks sense.
 
Jim did mention before that the new 100 MB/s rate will also allow for lesser compression. So I think besides of RC28 and RC36, we can expect some higher rates - ideally variable... :)

And I am always for more DR, just for the record... :)

In any case You need 5.12K to resolve pristine 4K when taking in account the 78% resolving power of the RED sensor (might change with Epic)...
 
They are guys that created RED, and you still don't believe in them. First thing that comes to your mind is 5K is to much, don't you think they know better? I mean they are experts dealing with it, analysing it, studying it, and they did what no one did before, and you are clever then them just saying 5k is too much. They know how camera and compressions work. They proved it. Don't you think so?
 
The first demos of footage from Frankie at IBC were from nearly 5k source material. To say more resolution is unnecessary is to say 65mm and Imax are unnecessary.

Graeme
 
No problem?

No problem?

Tom said:
uncompressed 5K would mean Data RAPE!
Click to expand...


I have been working with 4K uncompressed TIF files of RED footage and near 4K film scans without any issues, my programs can go beond 6K+ as far as I know.

Coming from a film rather than video background for editing 35mm I cannot figure out why sooo many people think uncompressed file editing is like the speed of light, it may be like the sound bearer but it is not impossible to do at home on several low cost computer systems.

Anyway, you would downres the 5K+ images to 4K after color correction for archive and filmout/projection.

Because of the OLPF and lens/sensor issues you need more pixels to start with to get clean sharp edges at the single pixel level in the RGB 16bit 48bpp processed image files. You really need 8K to 12K to get 4K images as sharp as computer graphics from a live subject, and because of DOF you will only get that 4K in a thin slice of the subject, since 90%+ of the frame will be out of focus. None the less, 5K uncompressed is not unmanageable for feature film production.

Most feature films do not have any shots longer than two minutes, and few have a single shot longer than one minute. Do if you can shoot uncompressed for one minute per "digital magazine" you can shoot almost any feature film, uncompressed at 5K+. Given that A-cam dII can shoot uncompressed, all you would need is to use five or six of their memory blocks in parallel to shoot 5K uncompressed, you do not need a "refrigerator" full of harddisks on the set, maybe in a back room to archive on, but the camera does not need a tether.

I broght up the uncompressed issue a while back and the answer was that they were not going to do it because you could not shoot slow motion, and it seems that since 90% of RED users are making slowmotion spots and not feature films, there will be no RAW option... at least not now.

The RED CODE does cause some issues, I have been doing filmrecorder tests with some RED footage and do see artifacts in the shadow areas under the extreme gamma adjustments needed to compensate for the LCD monitor and film print stock curves. These may be more noticable in a filmout because film printstock does not have a hard bottom like a monitor, so if the shot is timed dark you can see things in the shadow areas that you might not see on a monitor. I don't see this as an issue so far if you keep your filmout timed light and normal, not goth. But that said, the sensor can make better images than we are seeing through the REDCODE, and it would be good to have the option to be able to use our own de-Bayer choice to get a less (or more) processed look.
 
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