Uncompressed is important for multi-staged colorcorrection, VFX, CGI etc. In 10, 12, 16 bit.
Furthermore, DVS no only supports uncompressed, raw, but also DCI DSM (Digital Source Master) and DCP (Digital Cinema Package).
filmlight baselight is "only" 4K uncompressed RT however.
RED decided to no allow in DVS (or anyone else) in so far - they said that they have to honor their agreement with apple to not allow other companies supporting the red camera until april.
Recently we have been informed by them that RED is not stable/finished enough with their redcode raw to be supported by 3hrd parties.
Thats main reason why many customers (as us) are getting restless regarding the post workflow.
RED -needs- stronger and more support from the post industry, especially from the even more powerful systems and players.
And their strategy to get this is not really clear. It would be very reassuring and helpful if red would outline a -basic- timeline for their post workflow. The cross-platform puzzle
Realtime RAW workflows, -including 4K- meanwhile are supported, by
IRIDAS (speedgrade HD, speedgrade, DI, framecycler, framecycler DI, venue): cineform
DVS (Clipster) : cineform
ADOBE (CS 3/ premiere pro, after FX, encore) : cineform
SI 2K and SI 2K mini : cineform
DALSA Origin : cineform
WEISSBERG Speedcam : cineform
VISION Phantom 65 : cineform
and many more... (autodesk/discreet combustion, eyeon digital fusion etc).
Furthermore these raw workflows are OSX and Windows, AVI and MOV, stable and realtime. No matter if RED wants to offer that level of performance themselves or integrate with cineform, this is the market right now: The camera raw marketleader and the post raw marketleader products dont talk to each another...
And 4K RGB with display and i/o is offered at DVS since 2005, 3 years ago.
Anyhow, this NAB we will see several new 4K (also RAW hardware) systems, and hopefully RED can lift its REDCODE embargo towards 3hrd parties ASAP.
Laguun, does any of these systems supports playing RT 4K from 16 bit TIF sequence?
Since I convert REDRAW immediately to 16 bit TIF and then use it for all of our grading needs I discovered how good it is to work with TIF. Even 10 bit log DPX is not giving me as much of flexibility and headroom as TIF does
Not a knock on Scratch, but I DO wish that Red would open up the r3d to other companies like Iridas. I can wrap my brain around the interface in Speedgrade. I could use the on-set product ($600) to grade a frame here and a frame there, and pass along the settings and pictures via email to the colorist who's handling the project's footage. Even if he's using a hardware product like DaVinci there would be a reference, like on a 35mm project when we send a digital still or a paper Polaroid (now I'm dating myself)
I know that the current freeware products from Red will do this but I cannot stand the UI.
Real-time effects up to 4K RGB file sequences
Multiple video formats with real-time converting
Real-time JPEG2000 conversion
Internal RAID-5 protected high data rate storage
Real uncompressed video up to 4K RGB 16 bit
Real-time effects in 16 bit
Original native content is directly used for real-time processing
Windows® workstation with direct capture into NTFS Windows® file system
Real-time support of graphic file sequences like DPX, TIFF, Cineon®, TGA, BMP etc.
Fibre Channel connection for additional storages like a SAN
OpenFX effect plug-in interface
other functions (secondaries). Datamanagement seemed good (people who are using it often like it -very- much) but i couldnt look to deep into it. Technical quality seemed very solid (no magic gamma/value shifts ala apple) but no ultra-quality in realtime as 16bit etc. Please keep in mind that i only had 2 sessions and that was august & september 2007, so things might have improved. Integration with external programs (as AE/combustion/fusion/nuke/maya/max/xsi) seemed less powerful (but a decent inhouse programmer could probably script that).
I would see it not as "finishing" system as discreet smoke, but also not as "only" di, somewhere in between, a good product.
If 4K display is required it would be speedgrade Di with venue, but that would be more expensive than a scratch.
What is important to understand is that cineform can do RT 4K raw and speedgrade supports cineform.
For very complex pure shortform and indies with more time than the service agency biz and a 4K fullfeature i would rather recommend desktop software packages (as Adobe/Avid/Autodesk/AD with combustion).
For //top-end// colorcorrection i would consider the smaller filmlights baselights. For network centric facilities which aim at 4K i would recommend starting with a smaller clipster.
I think i will compile all the information about prices, hardware, os, functions, installed user base, business models, interfacing etc in one list (or maybe even a small webpage) pretty soon, as i am basicly talking about these topics daily with customers.
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