What the heck is 15 bit color? I thought it was 16 bit?
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10-19-2018, 04:55 PM
What the heck is 15 bit color? I thought it was 16 bit?
10-19-2018, 05:34 PM
He brought up AMD again everyone take a drink..Originally Posted by Misha Engel
Whoopdie doo. The whole point is to not have to convert from acquisition format to playback format and maintain capture quality. Here we use cameras that capture R3D, not Cineform Raw. No fucking way am I going to spend time transcoding to cineform.
Last edited by andrewhake; 10-19-2018 at 05:47 PM.
10-19-2018, 06:00 PM
It's not about transcoding, it's about why one wavelet codec (.R3D) needs so much more resources than the other(CineformRAW).
Since you have a $15,000 workstation you don't need to transcode.
10-19-2018, 06:31 PM
for starters, .r3d files are encrypted
10-19-2018, 07:32 PM
Elegantly avoided answering my question...
My point was that RED's got it's own, proprietary, codec. It's R3D. Meaning, 3rd party parts are not needed.
10-20-2018, 01:34 AM
Trail blazer perhaps. I just meant that with most shutter angles and shooting motion then 8K vs 4K (in terms of delivery) i think it's very very difficult to see. Perhaps in a static shot and also those Aerials you do - the difference is there for sure.
cheers
Paul
10-20-2018, 08:54 AM
Back in the days when RED invented .R3D it made sence to encrypt it (don't make the competion wiser).
Since the days of DSMC1 all competitors know the RED trick so it doesn't make sence to keep .R3D top heavy on computer resources.
3rd parties are needed when you don't have a mega workstation and it's good that RED implemented simultanious recording in ProRes(Apple) or DNxHR(AVID).Elegantly avoided answering my question...
My point was that RED's got it's own, proprietary, codec. It's R3D. Meaning, 3rd party parts are not needed.
You also have to supply the 3rd parties a SDK so they can implement it in their NLE's etc...
And now the new 3rd party is NVidia.
I'm fine with propietary codecs(as long as they supply a SDK's), just don't make them to compute intensive
10-20-2018, 10:03 AM
That's the fun stuff as I find resolution benefits even motion blur. About the 1/3 of my work is aerials, 1/3 VFX related, and 1/3 (often with VFX related stuff) is moving things. Though I literally might be filming some rocks soon. Not joking.
It's not difficult to see on an 8K display for me. In fact, since I've been doing more 12K and 16K array work downsampled to 8K this year, it's sort of a jaw dropping concept to downsample to that degree.
i'm very curious what directions every camera company is going to go from here honestly. I know two companies other than RED have 8K bodies coming in 2019 and that's in turn going to put the focus back on what RED will do next.
I have some theories, but I'll save that for off the air.
The industry is so dynamic these days. 4K is the sort of obvious finishing target for many, 2K and below is still happening in a whole bunch of markets, especially news related. 8K is happening in very few, yet rapidly growing arenas much like where 4K is now as well as where it will be in 2-3 years.
Outside of the industry trends I know where my personal interests land in what I'm trying to produce with my visual content. Much of that is 4K, 8K, and beyond.
There are a lot of proprietary things found still within REDCODE RAW and inside the cameras themselves. I think everybody noticed when Helium dropped that processing was a smidge slower, DSMC2 brought some rather major image enhancements that aren't so clear, but you could see part of that story in the DSMC Dragon to DSMC2 Dragon comparisons. It's been pushed further now with the latest Monstro, Helium, and Gemini tech. There are reasons for all of this.
I get the need for speed, RED's obviously always looking for ways to help out on that front, but the general mindset of faster isn't always necessarily better comes into play. Similar to those who didn't run the math on ProRes RAW, which is a powerful new codec for sure, but again REDCODE RAW is a bit more.
Even stranger, with some of the newer processing stuff that has arrived and is coming it might allow for revisiting some concepts on raw encoding further down the line. But that's a battle for another day.
Bleeding edge is often a hard path when also being tied to 5 year old + workstations and GPUs. But that's the varied landscape for sure.
Just to echo some good advice, if you are building a new system in 2018 or 2019, don't even consider GPUs with less that 8GB if you plan on working in 8K. This is more in relationship to application memory management. You can get away with less, but this is one situation where less isn't more.
10-20-2018, 07:15 PM
Well, there's your problem...why not invest in an adequate system too instead of being only halfways there? You're not using RED Cinema cameras for YouTube vloging, are you? News Business?
I mean, R3D, as such, is more than enough for what RED is trying to achieve with it (shortage appears on the other end, not on RED's), and there always will be RCXP, so you can transcode till the cows come home.
10-21-2018, 06:20 AM
According to this web article, RTX Nvidia 2080 Ti 11GB provides RED 8K Full Res Premium debayer in real-time (25fps).
https://www.pugetsystems.com/labs/ar...formance-1238/
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