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    #31
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    Wasn't thinking about those PAL guys, being a little NA centric I guess.


     

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    #32
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    And what about post-2010 (at least in the USA) when the NTSC standard goes away (except for the gargantuan installed base of legacy TVs) to be replaced by either 720p or 1080i depending on the network? Where does that leave us?


     

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    #33
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    Quote Originally Posted by billg
    Does this mean that RED footage shot in progressive mode will fall apart when converted to the current interlaced NTSC SD broadcast standard, eliminating or reducing the benefits of downsampling from 4k and its original creamy goodness? If RED footage is destined for SD interlaced broadcast, will originating in 1080i be the best alternative?
    No. Why should it? If that were the case then 35mm film on SD would look bad, but it doesn't.

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


     

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    #34
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    Quote Originally Posted by billg
    And what about post-2010 (at least in the USA) when the NTSC standard goes away (except for the gargantuan installed base of legacy TVs) to be replaced by either 720p or 1080i depending on the network? Where does that leave us?
    Shoot 4k as that gives you the best picture.

    Also, everyone's forgetting about Europe, and the rest of the PAL world which certainly accounts for many many more viewers than NTSC-land.

    I'd suggest 25p or 50p for acquisition or just stick with 24p. I'm sure some sensible US broadcaster will figure out how to send progressive 24p to homes without adding silly pulldown. Pulldown bloats the bandwidth for no benefit.

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


     

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    #35
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    Quote Originally Posted by billg
    And what about post-2010 (at least in the USA) when the NTSC standard goes away (except for the gargantuan installed base of legacy TVs) to be replaced by either 720p or 1080i depending on the network? Where does that leave us?
    That's a myth. There is no government mandate to end Standard Definition Television. Only analog transmission. People can still make and sell 480i tvs, but the broadcast signal needs to be a digital signal (DTV) which is most commonly 480p.
    - Gavin Greenwalt
    im.thatoneguy[remove]@gmail.com


     

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    #36
    Director of Photography TimurCivan's Avatar
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    red should liscence the codec to thirdparties, other cam manufacturers etc. not only would themy make a nice tidy profit, but its could become a new industry standard.

    Whats the compression ratio btw? how small does it crush?
    Director of Photography
    www.timurcivan.com www.tstopcinema.com 917-589-4424
    Visit my blog: T.stops : <- click here
    "He who thinks interms of catching mice, will never catch Lions."


     

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    #37
    Senior Member Digigenic's Avatar
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    Quote Originally Posted by TimurCivan
    Whats the compression ratio btw? how small does it crush?
    According to an interview with Ted Schilowitz in highdef magazine, Nov/Dec 06 - pg. 13
    We have an advanced compression engine inside the camera that takes the 4K raw or 2K RGB on down and applies a wavelet compression that's visually at roughly 10 or 12:1. To give you an example, the raw 4K at 24 frames per second is 325 megabites a second...


     

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    #38
    Director of Photography TimurCivan's Avatar
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    WOW.

    Thats amazing. Damn you guys a re good.
    Director of Photography
    www.timurcivan.com www.tstopcinema.com 917-589-4424
    Visit my blog: T.stops : <- click here
    "He who thinks interms of catching mice, will never catch Lions."


     

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    #39
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    Quote Originally Posted by glenn chan
    If destined for broadcast, why not avoid the potential motion artifacts of pulldown and just shoot 30p?

    30p doesn't convert to PAL well. Ideally, you want to sell internationally (to make more money) so shooting 24p can be a better idea for that reason. If your material is unlikely to end up in PAL, then 30p may not be a bad idea.
    If we are working in a fifty/fifty base (PAL vs NTSC regions), what's the best shooting frame rate for the best results?

    24fps -> 25fps?

    Or 25fps -> 24fps?


     

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    #40
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    I like 25p because you can take it to 60i with a modified pulldown that keeps speed, pretty much. 24p won't go to PAL without a speed change. That, and more of the world is PAL than NTSC..... That's just my personal thought though.

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


     

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