HD For Indies

I am sure these questions have been asked and answered before so apologies in advance:

1-Is there a way to view 4K content? I always thought that the highest resolution was 1080p. Can you link to a 4K monitor.

2-Does the Red Camera open the gateway to a 4K consumer camera...say 3 years from now?
 

1 - presently only on costly Sony Projectors used in theaters. Red has announced 4K projectors and monitors (lines for each - multiple)

2 - unknown - but do consumers want to shoot 4K

Bigger issue - having 4K source makes GREAT HD content. 1K/2K extractable on the fly, so not a problem to make HD from 4K master.

-mike
 

At IBC there was a 4K 50inch LCD display from Astra costing around Euro 40000. Red should have bought one to demo its footage.

I don't think RED is a game changer at all. Its price is revolutionary but not itself. Film is still better than any Digital cinematography camera so far in every aspect. RED imaging is very close in terms of resolution but lags in any other respect and is far less involving than film. Pros in most cases can afford quality over budget and always
choose collaborators over equipment (Spielberg edits on Steenbeck because his editor of choice does). RED whith the raw workflow is terra incognita for most DPs and lack of post support for AVID makes it not an option for many editors.
And from what I saw at IBC has many ergonomic shortcomings.
 

Emmanuel - film has greater dynamic range. Does not have greater detail, per head of tech of a major studio.

You mention "any other respects", but don't mention which - please do elaborate, and also please define "involving" - if it is a much more involving process (handling, development, processing, transfer/scanning, etc.) how is that a good thing, in a business sense other than romantic sense?

At top end, yes, Spielberg etc. choose to shot on it, but they are the top 0.2% or whatever of the "shoots on film" market. I'm looking at the overall market for what is currently shooting on film.

Red is terra incognita - sure - because it is brand new. Everything is new once.

Lack of post support for Avid - not true. I've already been involved tests with a major studio to verify sync and workflow issues into an Avid pipeline, and that's before Redcine ships...which can export to any codec installed on the conversion box, including Avid codecs if they are installed. Native support will probably come in the future, as it is already on the way with FCP.

Ergonomics - not all options were present at IBC, and there is some "you like it or you don't" aspects to the camera.

Shooting high bit depth very smooth 4K, to a digital format, on a CF card equivalent of a 400 foot load, with 2 hour loads with Red Drives coming, with instant playback (coming), at the same price point of a Sony XDCAM HD F350....what's not to like?

Not everyone will like it, but I think many, many will.

Client asked about getting an F350 now vs. waiting for a Red. He's been shooting digital photography for 20 years, and RAW for the last I don't know how many - is a no brainer to me.

-mike
 

Mike,

Your are really not doing yourself any favours as a consultant if your client is saying F350 now V Red later.

XDcam and RED are completley different animals, aimed at different markets and ways of working. Surely even you can see that!

Also, digital photography for 20 years? I remember when the first Professional Kodak/Nikon camera was released in 1991.
 

Michael- you don't know this client like I do, there are additional details to the equation. I know they are different animals, and for this particular animal/equation I do know. I've known the client for 10-15 years - I used to do his Photoshop consulting stuff when he switched to digital. He's been shooting for 20ish years, digital for 10+. My language wasn't clear.

-mike
 

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