F55: 4K is the future (video presentation)

4k is not the future. 4k tvs won't take off. the future is tablets and people surfing the web on their iphones. I think 4k right now is too much to stream. And no one can see 4ks benefit on a tablet. The whole retina display thing - honestly I don't see it. I would like to see a side by side with non retina displays and see if the average joe can tell the difference.

1080p is even too much. 720p is pretty much just fine for me. I don't really notice any sort of difference between 1080p and 720p on my macbook pro 15' monitor.
 
"I'm a cinematographer who makes commercials for the cinema..."

...that's funny, I thought he was a blogger...
 
One thing that Alister mentioned in his presentation was that its not a good idea to grade Slog on an NLE. Do you guys agree ? I've tried using the Premier fast colour corrector and found I could manipulate the image quite a bit. I assume that Slog 2 on the new F's would work even better.

Question is can Slog footage be graded in Premier or After effects or would you guys only recommend grading in Davinci Resolve or Speedgrade?

I personally found the presentation very interesting and learned quite a lot new about the cameras.


Surinder.
 
surinder said:
One thing that Alister mentioned in his presentation was that its not a good idea to grade Slog on an NLE. Do you guys agree ? I've tried using the Premier fast colour corrector and found I could manipulate the image quite a bit. I assume that Slog 2 on the new F's would work even better.

Question is can Slog footage be graded in Premier or After effects or would you guys only recommend grading in Davinci Resolve or Speedgrade?

I personally found the presentation very interesting and learned quite a lot new about the cameras.


Surinder.
Click to expand...

No I don't agree. I can grade out slog in Premiere, FCP, After Effects, take your pick. Usually you would not need to adjust gamma, just input/output of black and white levels. Same with Davinci, the pro colorists I've seen use it don't even bother with LUTs they prefer their own methods.

In the end use whatever you like to do the job and don't tell anyone what it is because someone else will always have something opposite to say. :huh:
 
starcentral said:
No I don't agree. I can grade out slog in Premiere, FCP, After Effects, take your pick. Usually you would not need to adjust gamma, just input/output of black and white levels. Same with Davinci, the pro colorists I've seen use it don't even bother with LUTs they prefer their own methods.

In the end use whatever you like to do the job and don't tell anyone what it is because someone else will always have something opposite to say. :huh:
Click to expand...


Thanks for the reply Dennis.

One a side note are there any displays or monitor that are capable of showing the whole colour gamut of the F55?

Surinder.
 
Hi Surinder,

I just sent you a PM with some links to articles I have written that I think you will enjoy when it comes to working with the F3 in general, as well as hypergammas and SLOG.

To my knowledge there is no technology that can display the whole extended color gamut of the F55. In fact even if it could it is maybe something our eyes can not even distinguish anyway.

The biggest benefit of the extended CFA of the F55 and F65 is that it meets the ACES specifications, which by the way is somewhat of a color standard the Academy of Motion Picture Arts & Sciences has been trying to get off the ground for the past 7 years. Good luck to them.
 
I think 4k all the way through the pipeline will come to pass, but probably not real soon. We've all seen that the new camera cycle is shortening, but the F55 will probably be a hot ticket for 3-5 years tops.

I just saw that the BIG announcement was that the price of 4k bigscreen TVs had dropped to $6k-$7k. That's not something the average homeowner is going to throw down on. HD TV has more than half the market share now, but not much more than half. Last I saw was about ~60%. It only got to there when 1080p at 42" became a reality for about $900. 4k TVs have a long way to go before they reach that price point.

Even a lot of theaters aren't 4k yet. The other thing is that 4k to most houses won't work until there is fiber optic all the way through. As more people use cable the through put actually goes down.

As a fellow gear head I love the idea of 4k, but from a business stand point very few projects will require 4k. That being said, if I could afford it I'd buy an F55.
 
It's all the future. The question is, is this future right now? For me? No. I don't want to shoot 4k just so I can spend post time rendering out 1080p for the deliverable. I rarely need to re-frame, and so far the post tools are so good that unless it's a crazy re-framing, the quality doesn't suffer noticeably. One day I will need a 4k camera (and I just swapped my pre-order over to the BMC 4k camera), just like we all graduated from the DVX to HD and beyond cameras. However, my 4k needs are still in the future, not the present.
 
With more and more 4k cameras coming out under $5000, I'd be hard pressed to think it won't be here sooner than we think.
 
starcentral said:
Ask me how many clients I've convinced to shoot in 4k who had asked for 1080p?
Click to expand...

That's not an answer. How many of these clients that you've convinced to shoot in 4k (at extra charge? I would bet you convinced them for the same price as 1080) got a 4k deliverable vs a 1080 deliverable?
 
More importantly:

How much more were you able to charge the clients that you persuaded to shoot 4K over 1080 HD?
 
You must log in or register to reply here.
Back
Top