I saw the stuff today at offhollywood its looking really good. mike curtis(hdforindies) is throwing it down on his OctoMac and 30inch. Thank you very much Mr. Jannard and Red Team the camera is amazing. I'm really blown away.
It was WAY fun to hang out on that set. Mark let me post some of the stills Pliny converted with Red's software tools on my site viewable here:
Paul McCarthy (poster above,the DP from set) came over as I was going through some ProRes files Pliny had flipped from the native Redcode RAW stuff. We conferred a bit (they're 2048x1024 instead of 1080 at this point), so I whipped up a Compressor preset to scale into 1920x1080, letterbox to account for the aspect ratio difference, and windowburn timecode with an opacity. Handed the preset back, dropped it in, ran a batch and it worked like a champ. It's all about bullk efficiency workflow...
Even after 1st gen compression from Redcode, scaling down, and re-encoding to ProRes (the HQ variant), this stuff STILL holds up beautifully.
If you had told me a year or two ago that camera native compression, scaled and run through an NLE vendor's "It's practically uncompressed!" (say with salesman's tone) new codec and it'd look super clean and nice, I'd have stared at you funny. Not here.
There's a lot of footage of high frequency detail in the pavement/tarmac the cars were driving on, I'm interested in squinting at some stills Pliny kicks out and comparing that to the ProResHQ to see what ProRes can REALLY do when you have clean source to compare it to.
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