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    Senior Member ZaneIsNumber1's Avatar
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    Quote Originally Posted by Tom Lowe
    So will this 2.40 crop work and deliver us some 4K overcrankage?
    Wait and see. At least the idea has been put out there.
    RED ONE #362
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    EDIT :

    I'm talking with a post house, and digital cinema corp. to figure out the best approach (since scope screen projection theatrically, generally is wider) and I'm unsure how a 10bit wavelett will comply with DCI's 12bit bit depth)...

    RED# cautiously optimistic
    Last edited by D_and_G; 11-07-2006 at 02:26 PM.


     

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    Senior Member Jaime Valles's Avatar
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    Quote Originally Posted by Tom Lowe
    So will this 2.40 crop work and deliver us some 4K overcrankage?
    Yeah, really. I would be extremely happy if I could shoot with the following specs:

    4K REDCODE RAW to on-board RED-DRIVE
    35mm Academy windowed to 2:40 aspect ratio
    Variable frame rates up to, maybe, 48fps? Maybe?? Pretty please???

    My next feature will be shot on RED with 35mm still Nikon lenses with a 2:40 aspect ratio. If it could get up to 48fps overcranking, it would be a 50% slo-mo, which is quite acceptable for dramatic work. And this wouldn't require RAID setups to capture footage.

    If it can't happen, it can't happen. But since they're still in development, it can't hurt to ask, right?
    Jaime VallÚs
    AJV Media
    Video, Photography & Graphic Design: www.ajvmedia.com


     

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    Senior Member Tom Lowe's Avatar
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    Quote Originally Posted by jrv3034
    Yeah, really. I would be extremely happy if I could shoot with the following specs:

    4K REDCODE RAW to on-board RED-DRIVE
    35mm Academy windowed to 2:40 aspect ratio
    Variable frame rates up to, maybe, 48fps? Maybe?? Pretty please???

    My next feature will be shot on RED with 35mm still Nikon lenses with a 2:40 aspect ratio. If it could get up to 48fps overcranking, it would be a 50% slo-mo, which is quite acceptable for dramatic work. And this wouldn't require RAID setups to capture footage.

    If it can't happen, it can't happen. But since they're still in development, it can't hurt to ask, right?
    That's exactly what I was thinking.

    48fps would be great for cinema work. So many of us are spoiled now because of the HVX.


     

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    EDIT :

    I'm talking with a post house, and digital cinema corp. (theatrical) to figure out the best approach.

    RED# cautiously optimistic


    Sorry for all the questions, but the S35 frame is a truly artistic choice, and one that is compositionally very needed in certain projects. Finding the best way to utilize RED + the S35 frame is a big possibility for excellent ART.
    Last edited by D_and_G; 11-07-2006 at 01:59 PM.


     

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    Senior Member Haakon's Avatar
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    Quote Originally Posted by D_and_G
    Sorry for all the questions, but the S35 frame is a truly artistic choice, and one that is compositionally very needed in certain projects.
    Well the s35 sensor is definitely larger, but the aspect ratio is near identical. What's on your mind in terms of being "very compositionally needed?"

    For me, I think the 4K image will be big enough... I can get 24p out of that onboard and crop to taste. Seeing homer's chart reinforced just how much bigger that 4K frame is. My next film won't be in 16:9 or 2.35, but the cool thing is that with that much area to play with, you can crop to taste!

    It's definitely a good time to be alive.
    you + are = you're.
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    In all of these discussions also don't overlook the possibilities with our 2K RGB. As its scaled in-camera from 4K RAW, it has the same FOV and DOF with the advantage for s/n and dynamic range of being a 2:1 oversampled image. Its also recordable to a RED-DRIVE via internal REDCODE RGB compression at any frame rate between 1 - 60fps - including speed ramps.

    Also note: The format options chart at http://red.com/formatoptions.htm has also been upadated today.
    Stuart English
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    And with a high quality scaling algorithm, 2k RGB scaled to 4k should look good. It helps that scale is the only difference - FOV and colour being the same. And that you're progressive too - interlace is horrible for scaling.

    Graeme
    www.nattress.com - Film Effects and Standards Conversion for FCP
    www.red.com - RED - 4k Digital Cinema Camera


     

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    Senior Member Haakon's Avatar
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    Thanks for updating the chart, Stuart.

    I think that the 2K option is nice (because of the 60p), but you lose the wonderful RAW capabilities that you've all sold us on! That was one of the things I was looking forward to the most. Also, 2K is pretty significantly smaller than the 4K image and that can make a difference.

    I know you haven't locked everything down yet, and it's still subject to change, and we won't quote your post as the gospel truth, but in the ballpark, how much difference is there in filesize (MB) between a 2K REDCODE RAW frame and a 2K REDCODE RGB one?
    you + are = you're.
    Batteries do not "loose" charge and hard drives don't "loose" data.

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    Senior Member Nick_Shaw's Avatar
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    Thanks for the new format chart Stuart.

    Am I correct in thinking that chart is the first mention I've seen of 120fps REDCODE (albeit 720p from a windowed sensor). It's good to see that there is an option for onboard 120fps recording.

    Nick
    Workflow Consultant
    Antler Post
    London, UK


     

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