Don't be scared...
- Thread starter mkhsfz
- Start date
acrochordon
Well-known member
I have a G-Tech and an Apple, but hadn't heard of the other companies.
http://www.quvis.com/?Action=Applications&SubAction=domed
On a side note, domed cinema looks cool.
http://www.keisoku.co.jp/en/product/vw/recorder/udr20e/index.html
How much does a 4k (uncompressed) recorder cost, not that most of us will need one?
http://www.quvis.com/?Action=Applications&SubAction=domed
On a side note, domed cinema looks cool.
http://www.keisoku.co.jp/en/product/vw/recorder/udr20e/index.html
How much does a 4k (uncompressed) recorder cost, not that most of us will need one?
John Allardice
Member
acrochordon said:
Quvis was one of the first companies to use wavelet encoding for digital cinema stuff, we used to have a unit back at Foundation Imaging in the old days(old being last century), rendered a bunch of 1080P stuff to it and went out to film from the wavelet encoded stuff on the quvis, looked great....one of the reasons I never had any worries about REDCODE, soon as I heard it was wavelet.
With the wavelet stuff I worked with back then any 'artifacting' ( you wouldnt even really call it that) is so analogue in feel that it just disappears when printed to film, and we are talking about a 7 year old codec here.....REDCODE is gonna be leaps and bounds on from that.
Tom Marshall
Actor!!!!!!
I remember them mentioning a Cooke prime at the showing in LA. I think it was a 65mm...
cooke was 65mm.
Quvis is an encoding software/server combination. KG box and the Scratch box are both boxes that can play out 4k to (for example) a 4k sony projector. Scratch was actually designed to do color timing etc. on, but most people I have talked to use its power as a player.
Both boxes (KG and Scratch) are in the 50k+ arena, of course pricing is variable on a number of conditions. A big bulk of that is having a drive array big enough to handle 4k uncompressed.
Baselight from Filmlight is what we used for the last round of color timing and export for the Red footage.. and its an incredible machine but with an incredible price tag. The Nuart screening was off the KG box.
Most of this stuff may scare alot of people because of the price tag.. but remember, the files were all prepared , ingested and exported as usable files (that for example where brought into AE). using RedCine .. its just playing it back in real time UNCOMPRESSED requires the heavy horsepower.. Redcode and Redcine has saved most of us from having to worry about selling the house.
Quvis is an encoding software/server combination. KG box and the Scratch box are both boxes that can play out 4k to (for example) a 4k sony projector. Scratch was actually designed to do color timing etc. on, but most people I have talked to use its power as a player.
Both boxes (KG and Scratch) are in the 50k+ arena, of course pricing is variable on a number of conditions. A big bulk of that is having a drive array big enough to handle 4k uncompressed.
Baselight from Filmlight is what we used for the last round of color timing and export for the Red footage.. and its an incredible machine but with an incredible price tag. The Nuart screening was off the KG box.
Most of this stuff may scare alot of people because of the price tag.. but remember, the files were all prepared , ingested and exported as usable files (that for example where brought into AE). using RedCine .. its just playing it back in real time UNCOMPRESSED requires the heavy horsepower.. Redcode and Redcine has saved most of us from having to worry about selling the house.
Rob Lohman
Red Team
John Allardice said:
Is FI gone now? I loved what they did on the Star Trek series.
Jim Arthurs
Well-known member
acrochordon said:
It is! I've got 5 minutes of 4K by 4K footage for this very venue in one of their current shows, and have known the Quvis people for years (some are ex-Newtek of Video Toaster fame). The current set-up at the museum uses 11 1280 by 1024 projects to overlap and patchwork up the complete image.
Nothing is more heady than being completely immersed in your imagery. Live action for this environment is very tricky, though... and not always successful. Full 180 degree fisheye 35mm or 65mm have been the only options to date. 35 simply doesn't have enough resolution to pull it off, even the mighty RED won't be able to feed this beast the sheer resolution it wants.