5K 9K come on whats going on!?

[Allan Legarth Nielsen]

I don't know everything in details, but working as a 1st AC I know a thing or two, and I have also worked with the RED ONE a couple of times.

Just a frustration outburst here. Just read a little about Scarlett and EPIC.

Can't really see what it is they're trying to do... you can built your own still/film camera or what? Why? Fisher Price toys, is that what it is?

And then you can shoot up to 5K and 9K..... WHO WOULD DO AND NEED THAT ANYWAY?

Come one, it's even ridiculous when I have been on RED ONE shoots, and they wanna shoot 4K, even 2K. You don't need it. Yeah okay, if you're Steven Soderbergh, and you have Benicio Del Toro in the leadrole. But the average indie filmmaker is never going to have their films shown on big cinemascreens anyway. Why don't they just shoot 1080 or even 720, good enough.

No no we're gonna shoot 4K!? Even the leading digital film cameras, Panavision Genesis and ARRI D21 "only" records 1080, which is even smaller than a 2K filmscan, and is there seriously anyone here, that honestly can tell me that, that isn't good enough......?!?!

Blu-Ray only supports 1080 at the moment, so why even bother shooting higher resolution than that? You have less discspace and more crap to render in post, and you might even have to downscale it anyway.

Come on?!?!?

[David Guest]

Depth of field. Latitude in post.
Two fairly common reasons to shoot 4K.

[Peter McCully]

"I don't know everything in details"...



I don't know what you're on Allan, but your first line sums it up.

To quote the Andy Millman character from Extras, "Are you 'avin' a laugh?"

[Michael Ragen]

I think you need to look into how CMOS sensors work.
The Only reason to shoot 2k or 3k on a Red is to get higher fps, or if you are stuck with s16 lenses.

You can see the difference between 4k and 2k at 720p resolution.

[Allan Legarth Nielsen]

Yeah maybe, but not something you can make the big difference between anyway. As said before, the Genesis and D-21, looks more like film with the same DOF, than the RED, and only shoots 1080.

Wouldn't know about post, I'm not a post-guy.

[Patrick Tresch]

I was laughing through the post! Thanks for that fun Allan!

I don't know you as a 1rst AC but hope you don't react this way with your DP's!

What! Lens change again? C'mon let's do it with the 50! It's allready on camera!

:)

[Allan Legarth Nielsen]

Just looked a little more. Whats the RED 617 all about? 28K? Please someone, please some one tell me why I need anything in 28K?

[Allan Legarth Nielsen]

delete

[Michael Ragen]

Effects plates on a big budget feature? Imax? I'm sure we will see a bunch of great ideas for the 617.

Why would anyone need 70mm if you have 35mm.
Why would anyone need 35mm if you have 16mm.
Why would anyone need 16mm if you have 8mm.

Use what makes sense for the job you are doing.

[Allan Legarth Nielsen]

I was laughing through the post! Thanks for that fun Allan!

I don't know you as a 1rst AC but hope you don't react this way with your DP's!

What! Lens change again? C'mon let's do it with the 50! It's allready on camera!

:)

Lens change is completely different. Has nothing to do with resolution. Don't know why you bring that up. Just answer my questions, I might even learn something, that I didn't know.