4k 2k SCALED?

[tj williams]

Quoted from DVX Forum December:
BRING BACK SCALED 2K RAW !!!

I thought I'd been told we could do this in Jan. I searched 2K scaled with no results. If we can shoot 4K or 2K with the full sensor then more of our work could be done with one set of lenses.

Can we shoot with the 35mm size sensor in 2K and scale the output.

[MikeCurtis]

My understanding of 2K scaled RAW was to start with 4K and scale it to 2K - but the deBayering math gets all wonky if you try that, so I think that's why they dropped it...AFAIK. Somebody bust me if I'm wrong.

[Martin Drew]

You can shoot 4K with 35mm lenses and have it scaled to 1080p in camera but no 2k scaled in camera anymore. And the resultant 1080p will be RedCode RGB not RedCode RAW

M

[J. Bernard Vallon]

I asked a while ago if it was possible to shoot 4k redcode raw and compress it to 2k redcode raw in redcine...like downresing without de-bayering.

Graeme said they're looking in to it. It would be a good solution, i'm crossing my fingers

[Brook Willard]

2K scaled REDCODE RAW was never an option - scaling a RAW file is inherently impossible.

You'll want to shoot 4K REDCODE RAW (@27.5MB/s) and scale from there in REDCINE.

[Antoine Baumann]

I asked a while ago if it was possible to shoot 4k redcode raw and compress it to 2k redcode raw in redcine...like downresing without de-bayering.

Graeme said they're looking in to it. It would be a good solution, i'm crossing my fingers

I always thought it would be possible to downsize the footage in RedCine to any size and any codecs install on your system, that will of course include 4k redcode raw to 2k redcode raw.

antoine.

[Rob Lohman]

No, every processing in REDCINE is done in the RGB domain. Not RAW. First step (after decompression) is converting RAW to RGB.

You output RGB / YUV etc., not RAW. Input RAW, output something else. And yes, you can input 4K and output 2K cropped / resampled [RGB/YUV]

[Antoine Baumann]

Thanks Rob for the update.

But with the RPL (Red Pull List) it shouldn't be a problem to output some footage at, let's say, draft demosaic 720p redcode rgb, do your editing, and then go back to your 4k redcode raw and make color decision and process only your RPL in 2k 12 bit redcode rgb with high quality demosaic. Then you do composite jobs or directly the final grade and fade in/out. Last you print to film or tape it for TV.


Is this workflow make sens to you (all of you :-)

Thanks for feedback,
antoine.

[Blair S. Paulsen]

AFAIK a RPL from the original 4k processed by RedCine into the highest format your post facility can handle (2k@12bit sounds pretty good to me) workflow is the best quality option for virtually every scenario.

For budget minded indies it will be interesting to see just how much of a grade you can do right in RedCine, but superior toolsets are out there if you have some budget. A lot of us are hoping that the new FCS6, presumably to be shown (if not shipping) at NAB'07, will include a color correction module based on the Silicon Color engine and tightly integrated into the suite. Assuming that this package can handle 2k material at more than 8 bits, and frankly even if it is limited to 1080, I expect it to become very popular.

[Jim Arthurs]

You output RGB / YUV etc., not RAW. Input RAW, output something else. And yes, you can input 4K and output 2K cropped / resampled [RGB/YUV]

Shouldn't there be some ability somewhere in the RED workflow to allow simple cuts or trimming an overly long RAW clip into a shorter one without converting it to RGB or recompressing it? Say you have your drive of dailies and you want to throw away everything before the slate and after calling cut. Or you want to ship a few seconds from a take to an FX house to work on, but not the entire take.

Could be a huge space savings for sports, nature, etc. if we could trim and consolidate media before archiving.