Thread: Red vs D20

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    #11
    Junior Member Christian's Avatar
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    Quote Originally Posted by emmanuel cambier
    Well the stills you can download are marked "in full resolution" and they actually are 1920x1080.
    If the D20 was shooting 4k (wich I've never heard of) I'm certain this information would be hard to miss on their website don't ya think
    Quote Originally Posted by Stephen Williams
    Hi,

    I¨think you are correct, there was just no way for them to record the data!

    Stephen
    Stephen is right I think. I remember him (Andreas) talking about problems with capturing. Those pictures 'v been taken to a HD CAM SR Rec Deck, which wouldn't be capable of recording 4K Footage. HD CAM SR is 1920x1080 (standard 1080p)! So nothing else can come from this.

    Their Techs & Specs Section says:

    Active sensor pixels: 3018 x 2200
    But there chip might have been evolved further so it could be full rezz 4K by now. I dunno, but why would any Official say something like this, if it isn't true?

    Anyway...I were able to shoot some footage with the D20 on that day in Munich and really liked it. I used a 35mm Ultra Prime and got very high contrast shots from Arri's patio.
    I very much liked the viewfinder concept! You can easily judge critical focus and have a very bright image to look at. Also I find it way more pleasing to the eye to not have to watch "Mini TV" in your camera all day.

    The only disadvantage was the weight and the mere size of the body, but i've been told that their technicians are able to put all that stuff down to the size of a 235 once it's really ready.
    Last edited by Christian; 12-23-2006 at 03:00 AM.


     

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    #12
    Senior Member Paul Coleman's Avatar
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    Quote Originally Posted by Stephen Williams
    That is Arri's goal.
    That's what I assumed. I guess they are creating an image that old school DP's can feel comfortable with. I think Arri wants the grain in there. It looks like the RED guys are not worried about mimicking film, so we get the "grainless" look of the milkgirls.

    All just theory on my part, because I'm not privy to the Mojo.


     

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    #13
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    No doubt that the ARRI D20 is a wonderful piece of equipment, the build quality and the optical viewfinder alone makes it yummy as can be.

    On the other hand there seems to be issues in the workflow from what you guys say, and I think we can all agree the difference with the RED ONE in term of noise is quite tremendous. Of course one may argue that this "grain" is sought after by some DP's, but we all know that this "electronic" grain could always be applied in post, probably some better looking grain too.
    emmanuel


     

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    #14
    Red Team Graeme_Nattress's Avatar
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    D20 is 3k, not 4k. Major issue is workflow as it's either uncompressed to hard drive or to HDCAM SR, both of which don't come cheap. And yes, it's a tad noisy.

    For practical purposes, noise = dynamic range, as in a digital system you have hard white clipping, so to get more dynamic range, you give yourself quieter and quieter shadows to get more DR.

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


     

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    #15
    Senior Member evinsky's Avatar
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    In the six camera comparison projected by the ASC the D-20 was surprisingly one of the worst performers. The Dalsa was best, followed by the F950 if you can believe that, and I think the Viper would have been better too except it had backfocus issues, which I think have now been resolved.
    Always beg forgiveness, not permission! http://www.evingrant.com http://www.evingrantdp.com http://www.evingrantphoto.com
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