Studio Daily update

[Jarred Land]

Gibby wrote a great update:

http://www.studiodaily.com/main/news/feed.rss/7886.html

[Jeremy Hughes]

Wow. I'd love to see an infomercial in 4K. Pretty much everything we already heard, but thanks of the summary Gibby!

EDIT: Also great ideas for how to use the RED Gibby!

[jeffry alan]

Props to Gilby for being so tireless in his work (seriously, how does he find the time?), and for Jim for shaking up the industry.

J*

[Jeremy Hughes]

Let us not forget this thread: http://www.dvxuser.com/V6/showthread.php?t=39951 and this post by Gibby: http://www.dvxuser.com/V6/showpost.php?p=360562&postcount=30

[Steve Gibby]

Thanks for the kind words guys!

When I get a chance to write, I take it. Its nowhere near as fun as shooting, but its still pretty fun...

OccularLimpidity: The resolutions on the suggested use list are acquisition resolution suggestions - not delivery or broadcast. The mag left that note out. That's amazing that you dug out that December 2005 thread and post! Man...the time flys...that was already 17 months ago! Its been a long road keeping tabs on the development of RED, but how cool is it that we're now only 12 days away from the first day of NAB 2007 exhibitions, where we'll undoubtedly get a bunch more info on RED. I'm as fidgety as everyone else, just counting the days!

[Dan Blanchett]

Let us not forget this thread: http://www.dvxuser.com/V6/showthread.php?t=39951

Wow, it's amusing to read those early posts from way back in December 2005. Many of the posters who thought at first this was a scam or couldn't be done are now reservation holders. Since that forum (like this one) dynamically updates their signature and avatar, it makes for an interesting contrast in messaging. :biggrin:

[Thom Steinhoff]

It was great reading those "crop circles" posts. I especially like this one


Even if hell froze over and the camera head were sold for an astonishing $50,000, you still need something to handle the 2.5GB a second if this is a straight 4:4:4 10-bit 60fps signal. I'm assuming they have some lossless codec, lets say they have a true breakthrough and the signal is 1GB/sec. Or a single bayer sensor in which case it is ~850MB/sec.

Well into 6 figures territory.

Not to mention that they would make far more money licensing their lossless codec than selling cameras



http://www.dvxuser.com/V6/showthread.php?p=360714#post360714

[Steve Gibby]

Yup..kinda like a few people sitting on the beach at Kitty Hawk in 1906 saying 'Nah, they'll never get that thing off the ground!" - as the Wright Brothers rolled out their dream - a flimsy "aeroplane".

[Tonaci Tran]

It was great reading those "crop circles" posts. I especially like this one



http://www.dvxuser.com/V6/showthread.php?p=360714#post360714

Hey..thats the reel stream hvx mod guy..pertier. I think it's great what he is doing for the hvx..but still i wonder how low his jaw dropped when he saw the 27mb/sec recode 4k spec.

[Jeff Kilgroe]

Nice article, Gibby. Good summary.

Reading back through those first RED posts from '05 is a hoot.

[Joel Kaye]

from the article - Aerial handheld and gimbal mounted (2K, 1080p, 720p)

Why 2K instead of 4K when doing Aerials?

[Thom Steinhoff]

Why 2K instead of 4K when doing Aerials?
To shoot redcode at a higher frame rate as it always smoothes out the bumps for arials if you slow the footage down. and to shoot the entire 4K would require true raw.

[Steve Gibby]

Why 2K instead of 4K when doing Aerials?

4k REDCODE RAW is limited to 24fps and 30fps - neither of which are desirable frame rates for aerial footage. You aren't going to be flying a huge raid array around in an aircraft, so higher frame rates from uncompressed RAW are not an option. 2k REDCODE RAW will record at up to 60fps onboard the camera to any of the recording mediums. 60 fps is a good frame rate for most aerial shooting, and 2k is enough resolution for everything from feature cinema down to HDTV, etc. Aerial stock footage is in high demand in 2k/60fps - It makes smooth slo-mos.

[Joel Kaye]

Aerial stock footage is in high demand in 2k/60fps - It makes smooth slo-mos.

Interesting - thanks. So does doing a conversion back to a 24P timeline keep the smoothness 60P gained or are you right back where you would have been?

[M Olsen]

4k REDCODE RAW is limited to 24fps and 30fps - neither of which are desirable frame rates for aerial footage. You aren't going to be flying a huge raid array around in an aircraft, so higher frame rates from uncompressed RAW are not an option. 2k REDCODE RAW will record at up to 60fps onboard the camera to any of the recording mediums. 60 fps is a good frame rate for most aerial shooting, and 2k is enough resolution for everything from feature cinema down to HDTV, etc. Aerial stock footage is in high demand in 2k/60fps - It makes smooth slo-mos.

Ahem Gibby, whilst you make valid points there is also plenty of demand for 24/25/30 aerials, I have shot vast amounts of stock footage at those frame rates. Admittedly the budget and having to land more frequently for mag changes have made over cranked film aerials a little luxurious its obviously budget dependent. To the other extreme I shot a traverse of the Southern Alps at 6 frames and it was smooth as, and the next job we did 90 rolls all at 120 frames. Depends on the job, also of course the baggy old 206 Jet Rangers you guys love are always so out of balance.. you need to overcrank to get something useable.. he he:biggrin:

[Steve Gibby]

Ahem Gibby, whilst you make valid points there is also plenty of demand for 24/25/30 aerials, I have shot vast amounts of stock footage at those frame rates. Admittedly the budget and having to land more frequently for mag changes have made over cranked film aerials a little luxurious its obviously budget dependent. To the other extreme I shot a traverse of the Southern Alps at 6 frames and it was smooth as, and the next job we did 90 rolls all at 120 frames. Depends on the job, also of course the baggy old 206 Jet Rangers you guys love are always so out of balance.. you need to overcrank to get something useable.. he he:biggrin:

Oh yeah, there is a demand for a certain amount of 24/25/30fps everything because it cuts easily into certain productions. Often its up to the client or demands of the job. Am I saying not to shoot 24/25/30fps aerials? No. Experienced shooters who need it for a projects can pull it off, along with any overcrank or undercrank footage. I tried to keep the RED One use suggestions in my article as general as possible for the mainstream shooters - the average readers. Those of us who do a ton of non-mainstream camera work (aerial, POV, water, hand held, etc.) definitely know when and how to do things a little differently when a project calls for it. Sounds like you're one of us.

FWIW - aerial stock footage in 4k/24 & 30fps, and 2k/various fps up to 60, will be in my stock footage offerings. For some reason, the 2k/60fps seems to license better then other resolution/frame rate combos, but 4k seems to also be growing a bit in demand.

[M Olsen]

Fair enough Gibby, and as you say the storage is an issue for now at 4K.
Yes, like you and many here I have done my time in the air, and horses for courses on the frame rate. I too will be definitely shooting some 4K 24p material in the air to expand the library.
Cheers.

[Jeremy Hughes]

Don't forget that if RED-RAM allows for onboard 4K at 60fps recording you could record... About 20 seconds of 4K at 60fps?

Gibby, with all the new info that's going to be announced at NAB, are you going to write another update?

[Steve Gibby]

Don't forget that if RED-RAM allows for onboard 4K at 60fps recording you could record... About 20 seconds of 4K at 60fps?

Gibby, with all the new info that's going to be announced at NAB, are you going to write another update?

Like many, I'll be real interested to see the final specifications for RED-RAM. Either RED-RAM or Flash will be my recording medium for a lot of the mobile footage I shoot. I'll also use the RED Drive when I feel that's the best choice for a project.

I am planning to write another RED update, which you can find on the Studio Daily web site on the morning of April 16, shortly after 10:00am Pacific Time (first day of exhibitions at NAB). The obvious advantage of web articles over print magazine articles is the difference in delivery deadlines. The print magazine must necessarily have a deadline a few weeks in advance of the publishing date. In contrast, web publishing can be immediate, on the spot, and up to the minute.

No doubt tons of reports from NAB will be posted right here on RED User very quickly that morning, plus I would imagine that the RED web site will have their NAB info online that same morning. Also, HD for Indies usually gets news and analysis online quickly.

[Jeremy Hughes]

Allright Gibby. April 16th 1:00pm Eastern Time. I'll be waiting for it. Yes, the internet is very speedy. It's like watching CNN and a magazine is like, well a magazine.

[Paul Leeming]

Yup..kinda like a few people sitting on the beach at Kitty Hawk in 1906 saying 'Nah, they'll never get that thing off the ground!" - as the Wright Brothers rolled out their dream - a flimsy "aeroplane".Actually in 1906 they would have been 3 years late (http://en.wikipedia.org/wiki/Wright_Flyer) to the party, but then again lots of people still don't think the moon landings happened (including my grandmother!!!).

Sorry Gibby, I had to chime in on that one as I used to be a commercial pilot. Now I'm just a neophyte film director trying to earn a new set of wings :)

[Steve Gibby]

Actually in 1906 they would have been 3 years late (http://en.wikipedia.org/wiki/Wright_Flyer) to the party, but then again lots of people still don't think the moon landings happened (including my grandmother!!!).

Sorry Gibby, I had to chime in on that one as I used to be a commercial pilot. Now I'm just a neophyte film director trying to earn a new set of wings :)

Good catch Paul. I remembered that it was somewhere between 1903 and 1906, and should have looked it up myself. Something told me to, but I didn't.

We're all happy to hear about pilots who pay attention to detail! That's our favorite kind to fly with...

Paying attention to detail as a director is a real good trait too...

[Brook Willard]

Don't forget that if RED-RAM allows for onboard 4K at 60fps recording...

Incorrect. The RED RAM currently has the same recording options as the RED DRIVE. The 4K@30p limitation comes from the camera's onboard REDCODE compressor, not from the speed of the onboard storage.

[/diversion]

[Rainer Fritz]

does anyone know how much asa will the camera have ??

[Brook Willard]

No, the native sensor speed has not been announced for various reasons. Let's save that discussion for a different thread.

[Don Woods]

Good Job Gibby nice read..