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High Definition Video for Independent Filmmakers
A How To Guide for Digital Filmmakers
Welcome all! This is my blog to share my latest research,
thoughts, etc. on utilizing HD for independent filmmaking.

YES, I am available for consulting
Contact me at mike@hdforindies.com

All content copyright 2004-2007 Mike Curtis.

Thursday, September 28, 2006

Red News: Red One shipping in April and other new info 

This is an updated and expanded earlier article, with the further inclusion on details from Jim Jannard's update posted on DVInfo.net

Full update from Jim Jannard:

Jim Jannard, founder of Red, posted on DVInfo.net last night, stating "Time for a full update."

Salient points:

-on track overall
-still on target to get 20 to 30 cameras put together in December for shakedown testing
-THINKS they'll start shipping March/April timeframe (hopefully, and NOT a promised ship date)
-more explanations coming for REDRAW, which they feel strongly should be your preferred shooting format
-traditional RGB recording will be offered as well (Mike's insert here - yeah, I'd expect 720p, 1080p, 2K RGB REDCODE options)
-Redcine will be key, so get familiar with it, detailed explanations start Nov. 1st
-pretty much final camera, cage, rail, & lenses at that time
-specs on lenses, including MTF charts, around that time (Nov. 1st)
-thermal management is a challenge, two FPGAs in there

Mike's Comments: Read the article for more details. I think the biggest piece of news in there is this is the most specific time frame estimate for when they'll start shipping. As I've got a reservation in queue now (did I mention that? I've got a Red One and a zoom lens on order, will be for rental market), I'm especially interested in that part, and in how long it'll take to fill backorders. They've previously stated that Oct. 31st is the closing day for reservations - no more pre-orders taken after that time.

But I'm pleasantly surprised at this shipping estimate - with the complexity of the product they are talking about, and all of the other details and capability ramifications not even discussed yet, this timetable is ambitious - I had previously thought they'd start getting their first cameras out in the May/June timeframe at best, since this is practically a moon shot in terms of new frontiers and complex systems for this new company. The timetable may still slip, but for them to be guesstimating this time frame is good news - it would be out of character for Jim to pick a date he knew he couldn't make. I would further hazard to guess that this would mean it would be a short number of months to get through the 500-600 pre-orders, and new orders could start being filled sometime in the second half of 2007, probably Q3 '07 I'd guess based on Jim's estimate. But again, these are just my own guesses based on Jim's guesstimated shipping time frame. But at this point, by the time new orders are taken next year when cameras are shipping (after the pre-orders stop being taken on Oct. 31st), there will probably be 500 to 600 cameras working in the field, so there should be good evidence of how well they do (or don't) work. As with many other working professionals, I'd rather see this camera ship late and right rather than early and buggy.

Macbeth color chart image from Mysterium sensor

For the camera hardcore, here's a Macbeth color chart shot with the Mysterium sensor with their test mule camera, no color correction applied, with a digital version of what the thing is supposed to look like in the lower portion of the image - follow the link in the top posting from Jarred.

There's also a link on the second page with composited squares from the "should be" comped over what they have at the moment, makes it much easier to comprehend. Plus, apparently Graeme has done some tweaks to get it even closer.

This is all well and good, but the catch is will it be this close or closer in varying light conditions (tungsten vs. daylight, for instance), in low or overexposed situations, will skintones still look good even if it is mathematically still "right," and will all this survive compression with Redcine OK? Another random thought - will the HD-SDI have the same curves to match the Redcine output? Will the in-camera curves be upgradable/editable easily? This is a LUT issue.

Hard numbers on the ISO rating of the Mysterium sensor

There is also discussion of the ISO rating of the sensor based on empirical data here, started off by Jim Jannard himself stating that the sensor seems to have an ISO rating of 160. Much much geeky discussion ensues, gets over my head quickly (I'm just a po' post guy).

Discussion on the boards about Red

There's also just good interesting discussions in general about stuff like quick conversion for reconfiguring the camera and other stuff. As always, the Red forums on DVXuser.com and DVInfo.net are worth checking out.

Some facts and a lot of conjecture about the break-in at Red

Other Red news - looks like the Mysterium sensor and the Frankenstein test mule camera were not taken, so that's great news in terms of no slowdowns, but the shiny prototype from IBC did get stolen. I'd also be ticked if I were the Red crew if somebody got their test sensor (I'm guessing there's only one working prototype, but I don't know for sure).

In the "totally pure conjecture based on no hard data whatsoever" category, while it still smells like some kind of corporate espionage and not random theft, the thieves weren't completely competent/thorough/successful (thankfully) - while they did get a lot of data and some prototypes, they didn't get some of the most valuable stuff - the working sensor, the test mule camera, etc. One camp would posit that the thieves didn't go after the most valuable items, another would suggest the thieves got what they wanted - comparison competitive data, so that a competitor could gauge their progress and how good the results were, so that they would know how to respond in their own future product offerings. Would a competitor be so bold? I would hope in this day and age not, but there are tens of millions of dollars at stake here, if not hundreds long term. Careers are in trouble. What if some hired third party sent to get info got overzealous, or o'erstepped the intended bounds of effort?

Of course, perhaps the valuable items not stolen were kept offsite or secured somewhere, I dunno. Again, this is all uninformed conjecture, I honestly don't know any more than I've read on the boards. But it sure is a weird thing to happen, and I'll bet Red never leaves themselves that vulnerable again.

UPDATE ON THE THEFT

Some of the stolen items have been recovered it turns out - some of the more personal data, the aluminum non-functional prototype, a lens, and some other stuff. Jim Jannard, founder of Red, stated on dvxuser.com:

"What is still out there are computers that had most of the camera related development info. It appears that the "booty" was broken up into two segments. Our pro investigation team and police are still on the trail of the balance."


So good news for them to get some of their stuff back, interesting to note that the booty was broken into two groups, but the group of stuff with the most sensitive info is still out there unfortunately.

-mike

PS-for those of you waiting, I DID manage to squeak into the screening of The Fountain last night, will post after I get back from a run)
Comments:
Everybody is drooling over a JPEG that has been color-corrected in post to match a Macbeth chart? I don't understand.

Meanwhile Silicon Imaging...

a) wraps their first feature, with tons of behind the scenes videos:
http://indiefilmlive.blogspot.com/

b) gets featured in Showreel magazine:
http://www.showreel.org/memberarea/article.php?203

c) posts tons more sample video & stills (including an uncompressed 16-bit TIFF sequence) from actual shoots:
http://www.siliconimaging.com/DigitalCinema/gallery_footage.html\

And people don't care?

This is my last post about SI vs Red until I use either camera, I promise.

Bruce
 
errr, what's your point? you *have* to color correct to match a macbeth chart, no chip is just going to give you accurate colos by default, this is what profiling is all about, and it's not an easy task. while i admit that it wouldnt be hard to fake a card, i will for the moment assume that jim jannard doesnt want to be the laugh of the year and that those first stills *do* come from an actual prototype..

i dont terribly like the hype or the design myself, but you have to give the guy credit for actually shelling out all this money for R&D and then selling the thing pretty much without profit.

and the SI-1920HDVR looks like a nice choice, but it's still 2/3" CCD, so this is a completely different kind of camera (nobody in his right mind will shoot ENG work with the RED either).

anyway, i dont think a lot of people understand what working in 4.5K 16bit RGB means for the average indie in terms of postproduction time/cost.

++ chris
 
As far as the cost is concerned to an indie, these are things that are coming down all the time.

4k 16 bit RGB as we currently know it is rather crazy, 323 MB/s is tough. But I can tell you right now I can build an editing/color rig right now for under 10k that'll do the job.

Drop to 2k resolution and I can build a rig for 5k. Those are indie prices.

Now granted your average film maker doesnt have either the experiance or the know how to accomplish this. Thats why you hire somebody like mike to come in and consult on a post workflow. Or as a film maker you realize that this is stuff you need to know, and you go out and learn it.

p.S. 4.5k can't currently be done as all major NLE's have a 4k limitation.

Jeff
 
You'd be surprised how close the chip is without profiling! It's very good indeed, and no it's not the easiest task to get it right, but we're rapidly getting there. There's no fakes in the cards posted, and actually, a few hours after they were posted they were significantly better. Colour is now so much better than what we showed at IBC, so we're really happy.

Working with 4.5k RGB for an indie will be tricky indeed, but that's why we have 4k REDCODE which will be much easier to work with, and I think well within the reach of an indie who's currently doing HD.
 
Jeff,

I agree with most of what you said, but where do you get the number 323 MB/s for 4k 16 bit tiff? I think the correct number is closer to 1 GB/s.
 
graeme,

i dont doubt that you'll get a nice color profile done, i just wanted to point out to bruce that color correcting a chip is one of the very important aspects of a chip (more so than sheer resolution) and that therefore it's nice to see that you're on the right track.

i'm glad that a true digital cine camera (35mm ccd, high dynamic range, standard lens mount, raw workflow..) is actually under development now, but as a cinematographer i have the feeling that this thing will be way too sharp for normal work.. nothing that throwing a bunch of filters in front of the lens, downsampling the stuff to 2K and adding some grain cant help though ;)

++ chris
 
the 323 MB/s was in reference to the RAW bayer data rate thats been posted. Several times there have been references to being able to use this in a NLE. Provided you have the speed, but with dual quad core chips on the horizon...and 10 drive internal raid cards...

don't think anyone would use tiff's... not for a real workflow in any case. For effects sequences open exr is the way everyones going... that'll knock that 1 GB/s by at least half more if you get into some of the more exotic (read not supported by all applications) options.

No matter what though I'd still advocate a saner approach for indies... take your wavlet compressed bayer (27 MB/s at 4k)and follow whatever pipe jannard and his team come up with.

Jeff
 
A break in, I love it. It's too bad Red didn't see that coming. There are so many people who would fund a break in it's ridiculous. The big guns are clearly afraid.

Red is still not on the radar for the broader market. Plenty of people in the industry have never even heard of it. I'm more excited about the crazed flurry of innovation that's going to happen after the Red is released, vs. the actual release of the Red. The Red is going to bust HD cameras open. The big guys are going to be forced to push hard for new ideas.
-Tom Dewitt
 
Awesome, the article is updated with more real info. So my complaining comments are less valid now.

Jeff, about tiffs... no, I am not saying they should be the primary format of a vfx workflow. I am just saying that a stack of uncompressed 16bit TIFFs are more useful to us for judging image quality, latitude, etc than a 8-bit JPEG. Also, that's not even what SI use - they just provided footage to us in that format for easy viewing.

I would LOVE to see a 16bit TIFF or DNG from Red. I'm sure they will provide in due time. Until then the JPEG is not that useful because we can't see how much is analog calibration, how much is the in-camera (pre compression) 3D LUT / curves / whatever and how much is the post-compression calibration / color correction.

Bruce
 
sorry thought we were discussing the cost of tottally uncompressed 16 bit RGB linear workflow, versus a lossless compression methodology.

You're right the jpg for the macbeth chart is only interesting (to me at least) that they're already at the stage of applying the demosaic algorithm to adjust for color precision. I know a bit of the math behind it and wavlet compression and it's not easy stuff.

In any case I particularly won't care until i rent one out for a day take it through my own workflow find the kinks as it applies to me (ie how good is it really at greenscreen) i think thats the thing that any responsible indie or pro would do.

But in the meantime I already have that raid array so i can edit it if i want ;-)

Jeff
 
Wasn't this supposed to be available this year?
 
Anonymous - nope, it wasn't - all they've ever said, and I've been paying careful attention, was that the first units would be put together by the end of this year. First units are for field testing, and that has been a consistent message all along. Then "sometime next year" or "ramping into production sometime in the first part of next year" was as specific as they'd get.

They still aren't making any promises, but at least are giving a more specific time frame.

-mike the blogger
 
Acutally, strike that, correction - looking back, they originally intimated that they'd put together first units end of this year, and implied production units would follow directly (or at least that's how I recall it, until I look it up) so this implies a slide from what they originally said, if I'm remembering this right. But they did say no promises, all subject to change, etc.

-mike
 
Yes, that seems to be what I remembered.
 
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