Real camera tests...

[Andi Loor]

Hope you don't mind me jumping in on this one Blair. The first iteration of Media Composer 6 and the 64-bit infrastructure is in its early stages. The plan is to optimize it over the next few revisions, and presumably implement some of the features you are asking for. At the moment, many Avid shows are edited in SD, 720P, or 1080 in an offline manner and then conformed elsewhere in whatever deliverable is needed.As time moves on, there will be demand for more to happen inside MC. Look what they are doing with working with Baselight. But for now, I'm not sure they are at that breaking point yet. I think they are trying to stabilize the transition over to 64-bit and then will add features that people are requesting. That's my take on it anyway. Mike may have some more insight into this.

It is unfortunate to equal Avid with Media Composer. Avid has an extensive tool aimed directly at Digital Intermediate, 2K, 4K and R3D work in the Avid DS system. Although Media Composer is very competent in it´s own, it is still a simpler tool, with less precision than DS. Avid DS is unfortunatelly Avids best kept secret even though it has been around for 12 years or so. I'll be happy to help if you would like to know more about it.
Andi

[Steve Sherrick]

Andi, I know all about DS. And you know what, you're right I fell into the trap of assuming they were talking about Media Composer because there are very few people on here who discuss DS. But you are correct, DS brings a lot of file based functionality that is missing in MC. It's a finishing solution and Media Composer is at it's core, an editing solution. Where this will all end up in a couple of years with Avid, time will tell. I guess my point in terms of Media Composer 6 and the 64-bit side of things is that they were not able to show all of its potential in the first iteration. How much they put in over the next few revisions, we'll see.

[Mike Halper]

Get up to an 8k sensor and short zooms will be mostly pointless unless you need 8k resolution for some reason. In 10 years we'll have well over 16k. That would be like having a 24 - 70mm zoom. Since you are making a prime without focus or aperture most of the mechanics will be unneeded. So engineering will focus on making the sharpest fixed prime you possibly can. RED will surely by then implement built in vignette correction so there is little to no reason to spend too much time on fixing it optically. Ditto geometric distortion.

Keep in mind that different focal lengths have different perspectives. There will always be a need for different focal lengths as scaling in on a 50mm shot is not the same as using a 100mm lens. I hate it when I hear someone on set say we have 4K so we can just scale into the shot to get the closeup. It's not the same!

[Jannard]

See new post.

Jim