DC Metro Final Cut Pros

With the advances made with the RED camera sensors, color science, codecs and the like, we can all learn from the fundamental science of what’s happening with all things digital and the impacts to digital cinema.  Take a look at a series of videos we posted from Panavision in 2008 by searching on the keyword: PANAVISION and take a look at the 7 part series: DEMYSTIFYING DIGITAL CAMERA SPECIFICATIONS.

You will quickly find out that we are just scratching the surface of what we consumers see as HD (720/1080P) as the high end market pushes beyond 4K to 5K and up.

One of our DCFCPUG sponsor companies’ founder, Graeme Nattress [yes, the same guy who makes those impressive plug-ins at NATTRESS], is heavily involved in the color science work at RED.

Graeme Nattress is behind the FLUT, Image Processing, Colour Science and Demosaic Algorithms and RED4K delivery at RED.








Being a Computer Science major with a minor in Computer Studies, I love his tag line:

Science enables stories. Stories drive Science.

While he is the public face of the mad science work going on, there are other smart guys working with him pushing the limits of resolution to all time highs.  Keep up the good work Graeme and the team at RED!


Keep your eye on the Mysterium sensor:

4520 X 2540 pixels… DATA TO BURN. At the heart of RED lives the 12-megapixel Mysterium™ CMOS sensor, Super 35mm sized, with unparalleled fidelity and flexibility.

It combines low noise with superior charge capacity for dynamic range and color fidelity that allows you to finally have a no excuse digital imaging alternative to shooting 35mm film.


DIGITAL SUPER 35MM

Record 2540 progressive at up to 30 fps REDCODE RAW. With 4520 X 2540 pixels, Mysterium™ puts pure digital Ultra-High Def in the palm of your hand.

RED ONE™ and REDCINE™ also support down-sampling to 1080p and 720p for in-field monitoring and compatibility with non-linear editors.

You get the same breathtaking field of view and selective focus found on film cameras. Mysterium™ boasts a greater than 66db Signal to Noise Ratio thanks to its large 29 sq. micron pixels. And 12,065,000 pixels deliver resolution that can only be called Ultra High Definition.


How does 4K compare to 35MM Film?

Most 35 mm film outs that have gone through a scanning process have been scanned at 2K, or one quarter the resolution of 4K. Only extremely high content VFX work is generally scanned as high as 4K. Viewers that see RED footage for the first time either describe the quality as 65 mm film or “grainless 35”.  More pragmatically, it is the elimination of the cost of film and processing that make the RED ONE so economically attractive, in addition to its extraordinary quality.





What are the Advantages of Shooting DIGITAL vs. FILM?

Beyond the obvious advantage of cost savings with the elimination of film and processing, both consumable products, it is the benefit of being able to watch dailies immediately, in real time, that make shooting digital such a superior experience. In adding the extraordinarily high quality of 4K capture and at such an affordable price, RED has tipped the scales for the industry.

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Follow us as we learn from the pioneers at RED, Canon, Nikon, etc in bringing digital science and resolution to yield real options to shooting on film.  Just like our Larry Jordan FCP Tips, we will have similar words of wisdom from the team at RED.

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Head on over to SHOT ON RED and get excited!

Enjoy the ride!


Rod – DCFCPUG Leader

The Blu-ray Disc Association on Thursday released the final specifications of the Blu-ray 3D specification, paving the way for 3D players to be at least talked about at the Consumer Electronics Show in January.

The spec will be released “shortly,” the association said, “with the technical information and guidelines necessary to develop, announce and bring products to market pursuant to their own internal planning cycles and timetables.”

The association also blessed the Sony PlayStation 3, stating that the console will be able to play back 3D discs in 3D. The BDA offered no further explanation of how the PS3 will accomplish this, although Sony said earlier this year that it would ship a BD-3D PlayStation 3.

In September, the BDA announced that it had set up a task group to work on the project, with the goal that even 3D-encoded discs could be played back on today’s 2D Blu-ray players. That is still the case.

“From a technological perspective, it is simply the best available platform for bringing 3D into the home,” said Benn Carr, chairman of the BDA 3D Task Force, in a statement. “The disc capacity and bit rates Blu-ray Disc provides enable us to deliver 3D in Full HD 1080p high definition resolution.”

The technology will bring 1080p content to each eye, almost certainly through the use of 120-Hz technology with offset 60-Hz fields. The BDA did not describe how the technology would work, although most require some form of 3D glasses. The BDA did tout BD-3D as display agnostic, working with LCD, plasma and other displays, and functioning regardless of whether the display itself has its own 3D technology or not.

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Courtesy ExtremeTech LabNotes (Mark Hachman)

It started with the RED 18-85 mm T zoom. RED Professional series lenses and accessories should begin rolling out in force the next few months in support of the RED ONE and in anticipation of Scarlet & EPIC.

Jarred will post a pic of the Prime lens set (1st). These are incredible. The bench testing is beyond our widest dreams. As you know, we have lots of lenses here for testing. These new primes outperform them all… especially wide open… and it isn’t close.

Matt is developing an all new accessory program that is equally incredible. “Everything will be machined and incorporates all we have learned over the past couple of years getting our feet wet in this industry”. If it says “Pro” on the box, it is.

So what is “Pro”?

1. All newly designed, machined accessories, including new base plates (15 mm, 15 mm offset and 19 mm), top and bottom mounts, BombEVF, dovetails, etc.

2. Lenses
18-85mm zoom T2.9
300mm T2.9
100mm T1.9
85mm T1.9
50mm T1.9
35mm T1.9
25mm T1.9

[Photo: Jarred Land - reduser.net]

Rod – DCFCPUG

Part 7: Single Sensor Cameras (continued)
Spectral response, Camera color balance: Daylight v. Tungsten, Digital Intermediate MTF comparison between Genesis and 5218, Bayer vs. RGB striped sensors.

This seven part series will be presented in three resolutions: 

480p

720p

1080p

Post a comment on your thoughts on this subject…

Permission granted: Panavision ( 2008 )

Part 6: Single Sensor Cameras (Bayer)
The resolution metric for a Bayer pattern sensor, Diagonal sampling Bayer pattern sensors, Optical lowpass filter options for single Bayer pattern sensors.
This seven part series will be presented in three resolutions: 

480p

720p

1080p

Post a comment on your thoughts on this subject…

Permission granted: Panavision ( 2008 )

Part 5: Three Chip Digital Cameras
Line pairs per Millimeter, Differences between HDTV and SDTV lens standards, a demonstration of the MTF-Aliasing dilemma using three chip cameras, Loading the imager MTF into the digital container.

This seven part series will be presented in three resolutions: 

480p

720p

1080p

Post a comment on your thoughts on this subject…

Permission granted: Panavision ( 2008 )

 

 

 

 

Diving Deeper into Modulation Transfer Function (MTF) – John Galt

Part 4:  Pixels are not resolution, Practical measurements of MTF, Introduction to sinusoidal MTF charts, The Panavision sinusoidal MTF Chart, MTF benches for measuring lenses, Cascaded MTF of a DI, Sensor MTF response, Depth of Field, MTF measurements of real world lenses.

 
This seven part series will be presented in three resolutions: 

480p

 

720p

 

1080p

 

Post a comment on your thoughts on this subject…

Permission granted: Panavision ( 2008 )