Slo-Mo and REDCODE RAW questions...

I think we'll all be having some fun with that 120fps 720p mode!

Hope it uprezes to 2K okay... either way, it will still be fun. And a feature that I think is not getting enough attention here. Forget resolution, everyone I talk to wants slo-mo!
 
I just did a quick test in Photoshop:

Take 4k image; crop to 1920x1080; scale to 1280x720; scale back up to 2048x1152.
(based on the assumption – which is only that – that 720p is 1.5 times oversampled from a 1080p crop)

It holds up pretty well.

Nick
 
Just did a similar test. Holds up surprisingly well (I used a touch of sharpening). If you are finishing to 1080p or 2K, then 720p might just do the trick for 120fps.

If you're finishing to 4k... well, you can probably afford that RAID.
 
Two questions for the RED TEAM:

- Why are the limitations of the S35 frame and RedCode. Why cant we have it all together? What about the cropped 2.39 to lower data rate?
Many good ideas have been posted here, like cropping to get more fps or cropping/compressing more in order to achieve the full sensor working with the on board RedCode raw.

- The RAID System for me an many others is not a problem of budget, but a problem of portability.
I can stick an unexpensive Arri III to a sports car or jump from an airplane with a 235 super35mm, but i cant do this with a RAID PC conected to me.

Topgear-zonda-1024.jpg



Going down to 2k for 120fps is ok tome, because usually in film industry also when you want very slow motion you end up giving up some quality (single pin vs dual pin, for example), so that is ok for me. 2k is still quite good.

But as some have mentiioned 48-50 fps should be wonderfull at full sensor.

I´m sure there must be some limitations, but if the sensor can provide up to 60 fps at full resolution, and you say it is possible only via RAID, i dont see the reason why we cant have S35 at 4,5 and 48fps frame onboard. Please explain why we can get that.

I think most people are a bit dissapointed to hear that we cannot have the S35 frame. Note: please take this as a good feedback, not as a pissed off client.
 
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macgregor said:
Two questions for the RED TEAM:
Many good ideas have been posted here, like cropping to get more fps or cropping/compressing more in order to achieve the full sensor working with the on board RedCode raw.

- The RAID System for me an many others is not a problem of budget, but a problem of portability.
Click to expand...
I agree, anything to make a more flexible high fps portable solution, the 720p is one way, but perhaps there are other ways.

Maybe an add on cpu or ram that attaches to the red rail and aids in compression.

Or a slightly more compressed solution at 2K but still hanging on to a REDCODE format.

What are the ways that you can get to "onboard 2K" at high fps while maintaining portability.

48 fps at 2K REDCODE would be great as it conforms to a future DCI standard. Even if it means a slightly more compressed file or having to purchase or rent an extra cpu or ram for those shots.

The picture that was posted at a super high compression was worth a lot more than carrying around a raid solution.

Just my opinions as I like the empty desert look.
 
agwah said:
48 fps at 2K REDCODE would be great
Click to expand...

Looking at http://red.com/formatoptions.htm you CAN go up to 60fps 2k REDCODE from the full 35mm (not S35, nothing but RED-RAID/RED-RAM records that at any framerate) area of the sensor. It would be scaled REDCODE RGB, but as Stuart and Graeme have said, it could be 12-bit, giving comparable flexibility in REDCINE to REDCODE RAW.

Or at least that's my take on what I'm reading.

Nick
 
We are listening... the project is quite complicated as you might imagine, especially coming from such a small group. We want to get the basics right, then open up options as we move forward. If it is possible, just give us some time.

Jim
 
The camera specs have already gone beyond expections, but a couple things I don't understand why they can't be done:

1) Why not record the full 2540p to REDCODE?

2) Why not offer higher compression options to record full sensor frame rates to REDCODE, or to get more recording space?
 
Nick_Shaw said:
Looking at http://red.com/formatoptions.htm you CAN go up to 60fps 2k REDCODE from the full 35mm (not S35, nothing but RED-RAID/RED-RAM records that at any framerate) area of the sensor. It would be scaled REDCODE RGB, but as Stuart and Graeme have said, it could be 12-bit, giving comparable flexibility in REDCINE to REDCODE RAW.

Or at least that's my take on what I'm reading.

Nick
Click to expand...

You seem to be right Nick, that is good indeed.

What MB/s would 60 fps 2K 12-bit REDCODE RGB need and is it possible like somebody suggested to compress it to a wavelet format in camera and back out to the storage after the initial capture so as to save space.
 
Any word on cropping the 4K frame to 2.40 to lessen the amount of date that needs to be compressed, so the FPS might be cranked up to, say, 48?
 
On-board recording specs

On-board recording specs

Its quite common for sensor frame rate specs to run ahead of on-board recording section specs - just think of HDCAM and even HDCAM SR stand alone VTRs as just two examples.

The specs as they are published reflect what we are confident we can deliver. This is a smart team, and if there is a way to deliver what is requested, I'm sure it will be discovered.

Right now we are focussed on delivering 4K resolution and 35mm FOV, via on-board recording with outstanding s/n and dynamic range, for our RED-ONE prototype camera testing.

RED remains a modular system, nothing has changed in that regard. After we've finished that prototype testing there may well be some more things that we can do.

BTW - Yes, REDCODE compressed RGB 2K does use wavelets - just as REDCODE compressed RAW does.
 
HDSDI output

HDSDI output

I've a question, simple but important. If I want to record REDCODE4k or RAW or RAW 2k, and I want to see the image in a HDSDI waveform or in a HDSDI monitor, or with a miranda converter HDSDI to composite... etc... How I can do this?
I think that an HDSDI output is very important for the swith people like me, I've a lot of HDSDI accesories from a F900R and I want to use with RED ONE.
 
question for the red team..

if it is not possible to shoot 2K raw scaled from 4K....

is it possible to shoot 4K Raw and then use REDCINE to convert to 2K RAW? this would give you a lot of options
 
Graeme, any word on what kind of bit rates we can expect for RGB REDCODE at 2K and 4K?

(I know you can't shoot straight to RGB REDCODE at 4K in camera, but I'm guessing you can transcode to it in REDCINE?)
 
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