Beatrice Palicka
08-02-2007, 04:33 PM
Jim and Stuart,
I come from the cinema background. I’ve done narrative and documentary projects that were all shot on film. I’m used to printing dailies and watching them in the lab the next day. I’ve never bought a video camera because I didn’t want to compromise picture quality. The Red One is the first digital camera that makes sense to me.
In the last few days people have been debating what formats to keep and what formats to drop without ever seeing any footage that was shot in 2K Redcode Raw or in any of the onboard RGB recording formats. Some people are assuming that Red will deliver the best 1080P onboard recording from the full 4K sensor, but it may not be so. They may not fully understand the engineering complexity that involves onboard de-bayering, scaling, compression, etc. -- all in real time. If the picture quality of the onboard RGB formats doesn’t favorably compare to the high end HD cameras, then people will end up shooting in 4K/2K Redcode Raw anyway. If so, then shooting 96 fps from the windowed 2K Redcode Raw format makes perfect sense. If we could have more than 30 fps in 4K Redcode Raw in the near future, then that would be even better.
There are three main issues:
1. More frame rates for those who want to shoot their movie in slow motion.
2. Faster on set delivery for EFP folks.
3. Picture quality vs. time, convenience, and money.
If we had more information about the picture quality of the onboard RGB formats and how well they intercut with the Redcode Raw formats, then we could offer more creative solutions. For example, a movie is shot in 4K Redcode Raw for theatrical release. There is one scene that needs to be shot in slow motion. Do I shoot it in 1080P from the full 4K sensor or in 2K Redcode Raw and then scale it up in post? I’m not going to know that until I can test it and see the footage projected on a theatrical screen.
Also, I think the new Redquick application will help those shooters who have clients waiting on the set and breathing down their necks.
Just my 2c.
Bea
I come from the cinema background. I’ve done narrative and documentary projects that were all shot on film. I’m used to printing dailies and watching them in the lab the next day. I’ve never bought a video camera because I didn’t want to compromise picture quality. The Red One is the first digital camera that makes sense to me.
In the last few days people have been debating what formats to keep and what formats to drop without ever seeing any footage that was shot in 2K Redcode Raw or in any of the onboard RGB recording formats. Some people are assuming that Red will deliver the best 1080P onboard recording from the full 4K sensor, but it may not be so. They may not fully understand the engineering complexity that involves onboard de-bayering, scaling, compression, etc. -- all in real time. If the picture quality of the onboard RGB formats doesn’t favorably compare to the high end HD cameras, then people will end up shooting in 4K/2K Redcode Raw anyway. If so, then shooting 96 fps from the windowed 2K Redcode Raw format makes perfect sense. If we could have more than 30 fps in 4K Redcode Raw in the near future, then that would be even better.
There are three main issues:
1. More frame rates for those who want to shoot their movie in slow motion.
2. Faster on set delivery for EFP folks.
3. Picture quality vs. time, convenience, and money.
If we had more information about the picture quality of the onboard RGB formats and how well they intercut with the Redcode Raw formats, then we could offer more creative solutions. For example, a movie is shot in 4K Redcode Raw for theatrical release. There is one scene that needs to be shot in slow motion. Do I shoot it in 1080P from the full 4K sensor or in 2K Redcode Raw and then scale it up in post? I’m not going to know that until I can test it and see the footage projected on a theatrical screen.
Also, I think the new Redquick application will help those shooters who have clients waiting on the set and breathing down their necks.
Just my 2c.
Bea