Personally, I don't think 4k (which for a variety reasons RED isn't quite 4k) really makes a significant difference when viewing. I've seen many a 2k show on a big screen and rez is just fine. Colorimetry, lattitude and work flow are the biggies. Being able to make a 1080 Pro Rez 444 while recording to Arri Raw at the same time, eliminating transcoding is huge. The labor costs alone make the price difference seem less.
I always wished RED went for a low noise high sensitivity 2k chip with less compression. Maybe Alexa will push it.
As of now it's just digital cheerleading. And how it's better than film is unclear. Sure it may eclipse it in acquisition expense but there's no objective criterion mentioned in how it beats film in performance. Can you pull more lattitude than a telecine? What's it's clip threshhold compared to film? That for me is always a deal breaker if I had the choice.
Tim, you forget though that when you downsample the higher resolution, you get less noise, and when you project the full resolution image at full resolution, the pixels being a smaller amount of screen area means any noise is smaller and harder to see. The lower the resolution of the image, for the same projected image size, you need even lower noise to begin with. Nothing is ever a free lunch...
And not least you need a good pixel on the sensor and the M-X pixel is very good.
The other benefits of the higher resolutions include less moire / aliasing, better defined edges, better MTF etc.
"The Studebaker brothers, having become the world's leading manufacturers of horse-drawn vehicles, made a transition to gasoline engines in 1904, but they continued to build horse-drawn vehicles until 1919."
4K and beyond is where we are all headed. There will be hold-outs.
It appears that the Arri is showing 13.5 stops from their DRTC test. Same as we are showing from the same test. They have a bigger pixel. Both sensors feel most at home at ISO 800.
From the perspective of Network Television, I really see these cameras as being mutually beneficial and not mutually exclusive. There really is a place for both. In some very rapid turnarounds, the ProRes work flow of the Alexa is attractive. In longer form, however, where you have time to work with the superior resolution of the RED, it's brilliant. Frankly, I can even see where the AVCHD 4/3 Panasonic will be a great tool.
We work with so many mixed formats on a daily basis, I can tell you that the real question is the flexibility of your NLE. In that regard, it seems like RED and Arri are answering the same question -- How can I make the Producer's life easier?
RED pushes others to focus on the changing needs of the industry (and brother, let me tell you, they are changing fast) and deliver solutions.
It's great .. and the more the merrier. One camera will not cannibalize another.
Own an early RED 1 (with MX upgrade), going stage 2 for the Epic, and will probably buy a Scarlet or two ... The work of Arri and others is great news. Cheer them on. It just helps make a complete end to end digital production and delivery pipeline the new normal.
This thread makes me laugh. Who ever can't see the obvious deserves the non obvious.
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