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    Senior Member macgregor's Avatar
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    Question: if 4.5K Redcode RAw cannot be recorded onboard, but 4K Redcode RAW can be, it seems to me that the problem comes from the compressing processor, it is not a writing/speed problem. Otherwise it would be as easy as compressing a bit more the footage so you get the same data rate as at 4K.

    But again, if it is a speed processing issue, and 4K 30fps is possible, wouldnīt be possible 24fps at 4.5K?

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    Senior Member Muttondraw's Avatar
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    For me the biggest issue is the reduced FOV going to a smaller format size, but I guess that is fixable, just means wider (more expensive) lenses. I had bought in to the S35 format option, it just hadn't dawned on me that it wouldn't be that viable in some permutation or other. Underlines how relevant your table is Haakon.

    I think an important aspect to hold on to is that 2K is still in excess of what we are seeing in most theatres today.

    Martin


     

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    Quote Originally Posted by Muttondraw
    For me the biggest issue is the reduced FOV going to a smaller format size, but I guess that is fixable, just means wider (more expensive) lenses. I had bought in to the S35 format option, it just hadn't dawned on me that it wouldn't be that viable in some permutation or other. Underlines how relevant your table is Haakon.

    I think an important aspect to hold on to is that 2K is still in excess of what we are seeing in most theatres today.

    Martin

    very true
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    Senior Member Muttondraw's Avatar
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    Quote Originally Posted by macgregor
    Question: if 4.5K Redcode RAw cannot be recorded onboard, but 4K Redcode RAW can be, it seems to me that the problem comes from the compressing processor, it is not a writing/speed problem. Otherwise it would be as easy as compressing a bit more the footage so you get the same data rate as at 4K.

    But again, if it is a speed processing issue, and 4K 30fps is possible, wouldnīt be possible 24fps at 4.5K?
    Or as Stephen W suggested in a previous thread. http://www.dvxuser.com/V6/showthread...t=redcode+4.5k If we could shoot windowed in a 2.40:1 ratio (rather than 1.77:1) but using the full sensor width. So you would only use 4520x1890 pixels. That would bring the data rate down.

    Martin


     

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    Senior Member macgregor's Avatar
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    Quote Originally Posted by Muttondraw
    Or as Stephen W suggested in a previous thread. http://www.dvxuser.com/V6/showthread...t=redcode+4.5k If we could shoot windowed in a 2.40:1 ratio (rather than 1.77:1) but using the full sensor width. So you would only use 4520x1890 pixels. That would bring the data rate down.

    Martin
    Wonderfull idea.

    Note: isnīt real scope aspect ratio 1:2.39?

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    Senior Member laboprod's Avatar
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    Thanks Martin for your confirmation on my FOV question.

    4k RAW REDCODE onboard is great, and I do not think there is something to be disapointed of. I mean there is no such difference between 35mm and S35mm.
    If 4,5k RAW REDCODE is going to be available onboard it would even be better, but as macgregor has very well resumed it, not sure what is the problem...

    About the lens, I have planed to use the REDZoom, and switching between the 4k and 2k windowed, I will have a FOV from around 7 degree to 60 degree, on the same camera, which is kind of cool...


     

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    Senior Member macgregor's Avatar
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    The difference between S35 and 35 might be small, but it exists.
    Basically because you get wider lenses at the same mm and you can get less DOF.

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    Senior Member Muttondraw's Avatar
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    Quote Originally Posted by macgregor
    Wonderfull idea.

    Note: isnīt real scope aspect ratio 1:2.39?
    Yes but it is commonly referred to as 2.40:1. I think that is what the ASC calls it.

    Martin


     

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    Quote Originally Posted by macgregor
    Wonderfull idea.

    Note: isnīt real scope aspect ratio 1:2.39?
    Miguel, I think you're right but it would be interesting any other confirmation(s). This will be a sensitive aspect to take care.

    EDIT -- And if the ASC doesn't handle with the pixels by tradition, the digital cinematographer will work with the accurate number and not by estimate approach, genre 1:2.40.
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    Senior Member Muttondraw's Avatar
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    Quote Originally Posted by Muttondraw
    Or as Stephen W suggested in a previous thread. http://www.dvxuser.com/V6/showthread...t=redcode+4.5k If we could shoot windowed in a 2.40:1 ratio (rather than 1.77:1) but using the full sensor width. So you would only use 4520x1890 pixels. That would bring the data rate down.

    Martin
    Ah ha. Found this older thread discussing the same possibility. This time with a contribution from Graeme. http://www.dvxuser.com/V6/showthread.php?t=58165 Although they were only talking about windowing the height of a 4K image.


     

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