Info from last nights CineAlta group meeting

  • Thread starter Thread starter G.P.
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A: At this time it is unsure if it will be available. ( I specifically asked this because it seems like everyone was so sure it wasn't possible. I wanted to know right from Sony. It seems like the way we were talking it was leaning towards a yes, considering his reaction to hearing that there was "confirmed roomer" that they wouldn't work at the same time. He was very sharp to say that is not true yet, and they are still in development. He stated that any camera that locked the users from using both the HDSDI and HDMI at the same time was purely because its a pre-production model.)

Giuseppe

I am very curious about this since I asked that same question at Sony when I tested the camera and they didn't work. Gave you every other combination but not the two. I hope it was only a pre-production model because like you, I was disappointed both were not active. Good job on getting some answers. Leaves some room for them to change it.
 
With all of this stuff still unanswered and seemingly up in the air, you have to wonder how close it REALLY is to shipping. Are they gonna pull a Red?
 
LeavingTheCandy said:
With all of this stuff still unanswered and seemingly up in the air, you have to wonder how close it REALLY is to shipping. Are they gonna pull a Red?
Click to expand...

It sounds more like Panasonic and the AF100. They circulate the preproduction model while they finish up and don't tell the salesmen much of anything.
 
I think it really just has to do with hearing from people using the camera. Its actually the right thing to do. The hardware is finished. Everything we are talking about now has to do with software, so they can make these changes happen up to literally the last day before the production line starts moving...

Also lets not forget that this is Sony... that company is MUCH larger than RED. They will meet their deadline no question about it. We are just not used to being so hands on with a camera before its even on the market yet. This is the new way to make sure people are happy with their cameras, bring it to the public, have them rip it apart, and sony tries to make everyone happy within limit.
 
New questions for the CineAlta meeting on the 1st...




Will the 2.40:1 guide lines (or any guide lines for that matter) be able to be seen on the HDMI output to say a 3rd party EVF?

What will the camera packages be shipped with?

Will the zoom to focus option also be able to be seen out of the HDMI?




Anyone else have questions they'd like me to ask? I'll post them once answered.
 
Hey Giuseppe,

Here's a few I'd like thrown in the mix:
1. Is S-Log available out the single HDSDI connector to be used with the Ki Pro Mini?
2. Will the SR-R1 allow for anything higher than 30fps in 1080p?
3. What is the S-Log workflow like for your typical FCP editor, anything tricky or wild I should know about?

Thanks.
 
Joe Walker said:
Hey Giuseppe,

Here's a few I'd like thrown in the mix:
1. Is S-Log available out the single HDSDI connector to be used with the Ki Pro Mini?
2. Will the SR-R1 allow for anything higher than 30fps in 1080p?
3. What is the S-Log workflow like for your typical FCP editor, anything tricky or wild I should know about?

Thanks.
Click to expand...

Good questions, I may be able to help answer a few right away though...

To my understanding, S-Log (when you buy the upgrade in April) is a very wide gamma curve that is part of the image. Meaning on your recording medium you see what you get, the S-Log's "milky" image retains all the color information at 10bit depth, so when you correct in post, it will bring back all the information. It is a visual and I believe (but could be wrong) burned in thing. Think of it as another gamma curve setting, but this time reallllly wide. This is at least how I understand it. It is NOT like RAW in that the info is 1 and 0s and can be applied or removed.

The last we spoke about S-Log was about the Dual HD-SDI out and the single HD-SDI out... but I believe that 4:2:2 is not the best for S-log if that is even possible on the single out. I will ask for sure to get direct answers though.

Here is a link to some info that might help you understand more about S-Log http://www.xdcam-user.com/?page_id=1234
 
Also to help explain more and have a visual sense of S-Log in action here is a great video:

http://pro.sony.com/bbsc/video/collections-cameras_tips/video-camera_tips_thoroughbred_s_log/

Watch it full screen in HD and throughout the video you'll see S-Log footage vs. the color timed final. The examples are great and its worth watching from beginning to end to really see how drastically different the dynamic range is between some of the scenes are from S-Log to color timed.
 
I can't get it to play right now. I wonder if we're overloading the system.

That said the first image of the kid with the horse looks fantastic.

I don't see why 4.2.2, while not the best, wouldn't grade properly. As I understand the data arrangements with 4.2.0 the color may be off in many pixels in some locations, but with 4.2.2 it should be within one pixel from MPEG Long GOP codec, which is why it green screens better.
 
I can tell you that I'm 99% sure they will not have an answer for price on the R1 yet.
 
Duke M. said:
I can't get it to play right now. I wonder if we're overloading the system.

That said the first image of the kid with the horse looks fantastic.
Click to expand...

I have a feeling it is people overloading. Also pause it once you get it going, and come back to it in 10 mins, should be no problem. Some of the shots show minor differences between the graded and S-log and others show a huge difference, so its a pretty good way to check it out.

Below are some screen shots of the S-Log vs. color timed in that video:

Screen shot 2011-01-11 at 11.41.51 AM.jpgScreen shot 2011-01-11 at 11.42.05 AM.jpgScreen shot 2011-01-11 at 11.43.25 AM.jpgScreen shot 2011-01-11 at 11.43.10 AM.jpg
 
So if I'm understanding this correctly ( and feel free to correct me if I'm not) the SR-R1 will enable you to record your video through the dual link HD-SDI out as 10 bit 4:4:4 uncompressed quicktime files? Or does it lay down to the SR-R1 as something different that you have to transcode? Is there anyway you can walk me through the process of getting these from the memory pack into FCP for edit?
 
It will be recording at an HDCAM SR 440Mbps 10bit 4:4:4 and 220Mbps 10bit 4:4:4, it also does 10bit 4:2:2

It will also do 10 bit 4:2:2 60p for ramping as well as handle a 3D synced system where two streams of HD-SDI off the F3's will be recording to 1 source and will handle the left/right eye split for one file.


I don't believe it will be recording to quicktime, you'll have to transcode, and or wrap the files for an editing system to work with the online source. These files will be huge, this is 440 Mbps at 10bit 4:4:4 color space.... Just think of how much space a simple 35Mbps 4:2:0 stream takes up gig wise on a hard drive and then multiply until you get 440Mbps with the added color space info and thats what you're looking at quality wise.

This is not a just drop and go way of shooting, its for higher end production that can handle and ingest that amount of footage. Its not a workflow for everyone. And most are fine with the standard 10bit 4:2:2 out with a NanoFlash or Ki-Pro mini.

The specs on the SR-R1 have been very lightly touched on, and its still in its baby form, they are still trying to create the thing.
 
now the 60p is the recorder, I dont believe the F3 can do that out of the single SDI that I believe is the dual AFTER buying the upgrade.
 
Ah gotcha...that makes sense, and as of right this moment, we don't know if the HDMI and the HDSDI can output at the same time, correct?
 
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