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.
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.
Head on over to
SHOT ON RED and get excited!
Enjoy the ride!
Rod – DCFCPUG Leader
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12th Mar 10
Rodney
