The mystery of REDRAW reminds me of the scene from Spinal Tap as they discuss drummers dying mysteriously.
http://www.youtube.com/watch?v=tZrqC5LL_oo
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The mystery of REDRAW reminds me of the scene from Spinal Tap as they discuss drummers dying mysteriously.
http://www.youtube.com/watch?v=tZrqC5LL_oo
Michael, I distinctly remember hearing when the R1 came out that Red files are 12-bit linear. I can't point you to quotable source at the present time, but I might be able to find a reference somewhere. And I certainly don't know what changes may have been made to the .R3D structure to accomodate the Epic and Scarlet cameras.

I'd love to see how they get 16 bits out of a 5.4 micron pixel ;)
Yes I am pretty sure the Red one encoded and created a 12bit linear file... But I don't see how that precludes epic creating a nonlinear file. Unless you know of a way to get to the picture in a epic file without the red sdk or redcineX?
Might be wrong but my guess is 12bit nonlinear otherwise Red wouldn't have made such a big deal about increased precision...
Pictures look good either way ;-)
Those were calculated assuming RAW sensor data at 5,120 X 2,700. By that I mean it assumes a single color value per pixel. If it were uncompressed 4:4:4, the rates would have to be multiplied by three.
These are the rates that I calculated for the MX sensor's 4K (4,096 X 2,304) uncompressed RAW data assuming various bit depths:
8-bit: 12.7 GB/min.
10-bit: 15.8 GB/min.
12-bit: 19.0 GB/min.
14-bit: 22.1 GB/min.
16-bit: 25.3 GB/min.
Hope that helps, and that my math is correct :).

Michael, your suspicion may of course be confirmed. But I think the increased precision comes from internally processing the sensor data at 16-bits, instead of 12-bits like I believe the Red One does. But you definitely said it best:
"Pictures look good either way ;-)"

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