I imagine the pictures from the F35 will be stunning, with a wide dynamic range. I understand its a full 35mm 12Mp CCD sensor being downsampled to 4:4:4 1080p.
Of course the F35 will probably cost $300,000
its the sony version of panavision genesis camera and it shoots great images but it looks really sterile. there is such a thing as too clean. it feels like all the texture or the feel of texture is gone. it makes people look a little plastic. at least it did in superman returns. red images feel more organic , they have texture, not as much as film but it's early days yet
In a few months I suspect the Red One will close the gap on quality issues.
I think it would be interesting to do a short film or whatever only you shoot with various cameras and intercut them, Say some of it on the f35 some on RED ONE other stuff on D21. Maybe even a few shots on 35 mm film.
Use all the same glass on all of then have people try and guess which shots came from which camera. I think if you shot if right it would be too seamless to tell.
Almost all HDCAM Cameras can record uncompressed via HD-SDI.
The 750/790/900 (etc) record uncompressed YUV422@10bit, the 950/F23 (etc) and probably F35 RGB444 as well.
To avoid the HDCAM 144-180 Mbit (depending on framerate) or 440-880 HDCAM SR is recommendable for VFX / key etc, but not necessary. The same applies to redcode.
However colorists and VFX artists often require more time for the same work, and can get less excellent results, if massive datareduction is in the source.
The resolution bottleneck, if distributed via film, is 35mm projection and the interpositive/negatives anyhow in both cases.
We, being HDCAM owners and users since 2002 prefer RED over HDCAM incl. F23 for many scenarios and vice versa.
The Imagequality in resolution is much better with the red, and having a raw workflow is excellent. The flexible framerates are excellent for many creative scenarios, and having 35mm DOF and PL-mounts is very good. The formfactor and the size of red is much better than F23/genesis/F35. Having recordable
However, the still constrained red workflow is rather unflexible and slow for most postproduction systems and houses who different than us dont have a specialised red-workflow. Until the support of these systems will be allowed, while HDCAM is widely supported, completely stable and unbuggy and realtime throughout, this is therefore a 50/50 neutral / depends on the situation thing for us.
HDCAM also had advantages, as top-quality 1080p live, exchange media (tape), a slightly higher light sensitivity especially at interlace, and for some scenarios the 2/3 is in fact an advantage (one-man crew animal, long zoom etc), also hdcams CCD-FITs cameras are less depending on light temperature and have no skew.
Therefore we are very happy to use both systems, and i often prefer red when i can control light and can go wild on the creative side (overcranking etc), while HDCAM offers benefits for international doc, live, fast turnarounds, exchange etc.
I am very happy that red offered a excellent alternative to hdcam, however we dont feel a reduction of the value of our hdcam - in fact the class 1 crts, hdcam (sr) VTRs etc are often plannend and used additionally also when using red. And hey, its BIG fun to have a red or a hdcam as making-of camera when shooting in hdcam or red :)
Even in HKG like this. Double Compression is no good unless the 1st compression is RAW material. RECODE capture to RECODE display is the way of 4/3/2K to some serious watchers then average TV watchers.
Stuart, did you listen to SRV music in TX, and I am a big fan of him and Freddie King.
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