-29 square micron pixels - that's BIG, so a lot of light per pixel - helps signal/noise, helps light sensitivity, helps contrast, etc.
-11.5 megapixels
-24.4mm x 13.7mm (Super 35mm sized)
-dynamic range >66db, aka depending on lenses used, etc., somewhere in the range of 11-15 stops
-depth of field is equivalent to using Cine lenses
-it can be windowed down to 2K to use Super 16mm lenses and frame rates up to 120 fps
Acquitision formats:
4520p (4k+)
4K
2K
1080p
1080i
720p
Frame Rates:
Variable 1-60 fps for 2540p, 4K, 2K, 1080p, 1080i, 720p
Variable 1-120 fps for 2K, 1080p, 720p by windowing the sensor (using a smaller part in the middle) and using 16mm lenses
And of course, all the usual suspects - 23.98, 24.00, 25.0, 29.97, 30.0, 50.0, 59.94, etc.
RAW Output:
1-60 fps 2540p, 4K, 2K
1-120fps - windowed 2K (as described above)
Video output:
single and dual link HD-SDI
2K 4:4:4 RGB
1080p 4:4:4 RGB
1080p 4:2:2
1080i 4:2:2
720p 4:2:2
What I'm saying is that I don't have to record 4k. If I want to do 1080p then that's fine and as we catchup to 4k monitoring I know I have the aquisition device to handle it.
RED still has to develop a camera that can record and output 4K data and pledge to sell that for $17,500 and make a profit. If the user only uses it for 720P doesn't matter.
Currently the actual working cameras that comes closest to RED spec cost around $140,000.
RED still has to develop a camera that can record and output 4K data and pledge to sell that for $17,500 and make a profit. If the user only uses it for 720P doesn't matter.
Currently the actual working cameras that comes closest to RED spec cost around $140,000.
They don't have to make a profit in producing it, but I think it would help them if they did.
As far as I'm concerned, their claimed specs are just a vaporware fantasy. They should have a working model before they take preorders, I hope no one is getting suckered into writing a deposit.
Still, without knowing the margins of the competing cameras, it's hard to know whether such a product will be profitable. Video equipment can be a redicuously high margin affair, just because there are those that are willing to pay any price to get it.
The most interesting thing I've heard from NAB so far is that the Avid Unity and Isis SAN's have been opened up to other systems. In other words you can put a FCP system on unity now. The Isis seems like a very cool product. 150 clients and huge amounts of storage. I'm very excited about this product.
RED said nothing in its presentation about scaling up. Everything says for $17,500 you get a 4520X2540 pixel Mysterium Sensor.
Exactly -- all you get is the sensor. If you want to actually record more than an hour of 4K, you'll need a huge stack of hard disks ($$$) or perhaps the exotic "Red flash" ($$$$), and then you'll need a multi-TB RAID ($$$) and a high-end workstation ($$$) to edit your 4K footage. And if you want to actually watch 4K, I think a Sony projector runs over $20K.
I suspect a lot of people will be shooting 1080p on Red because that's all they can afford to process.
1080P is actually far out of most peoples range also.
Agreed, 1080i can a bit much as well, but done right, it is so worth it. I think a two pass encode of one minute of 1080i footage to H.264 took my dual PowerMac G5 about half an hour.
Ah, tape is old news. Just record directly to disk, and copy the footage from the capture disk to your RAID. No tape decks and no HD-SDI card needed. And if you're cheap you can use a Cinema Display instead of a broadcast monitor.
Nope in the professional world tape is not dead. In many situations tape is a lot more convenient to use than RAID.
Cinema Display is not good enough for final monitoring of color and contrast. If you look at Apple's own marketing materials for Final Cut Studio there is always an HD CRT monitor on the desk next to the cinema display.
Comments
MYSTERIUM SENSOR
-single CMOS sensor
-as said before, it's 4520x2540 pixels
-29 square micron pixels - that's BIG, so a lot of light per pixel - helps signal/noise, helps light sensitivity, helps contrast, etc.
-11.5 megapixels
-24.4mm x 13.7mm (Super 35mm sized)
-dynamic range >66db, aka depending on lenses used, etc., somewhere in the range of 11-15 stops
-depth of field is equivalent to using Cine lenses
-it can be windowed down to 2K to use Super 16mm lenses and frame rates up to 120 fps
Acquitision formats:
4520p (4k+)
4K
2K
1080p
1080i
720p
Frame Rates:
Variable 1-60 fps for 2540p, 4K, 2K, 1080p, 1080i, 720p
Variable 1-120 fps for 2K, 1080p, 720p by windowing the sensor (using a smaller part in the middle) and using 16mm lenses
And of course, all the usual suspects - 23.98, 24.00, 25.0, 29.97, 30.0, 50.0, 59.94, etc.
RAW Output:
1-60 fps 2540p, 4K, 2K
1-120fps - windowed 2K (as described above)
Video output:
single and dual link HD-SDI
2K 4:4:4 RGB
1080p 4:4:4 RGB
1080p 4:2:2
1080i 4:2:2
720p 4:2:2
What I'm saying is that I don't have to record 4k. If I want to do 1080p then that's fine and as we catchup to 4k monitoring I know I have the aquisition device to handle it.
Currently the actual working cameras that comes closest to RED spec cost around $140,000.
Originally posted by TenoBell
RED still has to develop a camera that can record and output 4K data and pledge to sell that for $17,500 and make a profit. If the user only uses it for 720P doesn't matter.
Currently the actual working cameras that comes closest to RED spec cost around $140,000.
They don't have to make a profit in producing it, but I think it would help them if they did.
As far as I'm concerned, their claimed specs are just a vaporware fantasy. They should have a working model before they take preorders, I hope no one is getting suckered into writing a deposit.
Still, without knowing the margins of the competing cameras, it's hard to know whether such a product will be profitable. Video equipment can be a redicuously high margin affair, just because there are those that are willing to pay any price to get it.
Originally posted by TenoBell
RED said nothing in its presentation about scaling up. Everything says for $17,500 you get a 4520X2540 pixel Mysterium Sensor.
Exactly -- all you get is the sensor. If you want to actually record more than an hour of 4K, you'll need a huge stack of hard disks ($$$) or perhaps the exotic "Red flash" ($$$$), and then you'll need a multi-TB RAID ($$$) and a high-end workstation ($$$) to edit your 4K footage. And if you want to actually watch 4K, I think a Sony projector runs over $20K.
I suspect a lot of people will be shooting 1080p on Red because that's all they can afford to process.
Blackmagic Decklink HD
PCIe Card $1000
Fibre Channel card $500
Sony 20" HD monitor $14,000
Sony HDCAM SR Deck
1080P 4:4:4 $100,000
1 TB RAID, at the least
(more for a feature film) $6000
Originally posted by TenoBell
1080P is actually far out of most peoples range also.
Agreed, 1080i can a bit much as well, but done right, it is so worth it. I think a two pass encode of one minute of 1080i footage to H.264 took my dual PowerMac G5 about half an hour.
Originally posted by TenoBell
Sony HDCAM SR Deck
1080P 4:4:4 $100,000
Ah, tape is old news. Just record directly to disk, and copy the footage from the capture disk to your RAID. No tape decks and no HD-SDI card needed. And if you're cheap you can use a Cinema Display instead of a broadcast monitor.
Cinema Display is not good enough for final monitoring of color and contrast. If you look at Apple's own marketing materials for Final Cut Studio there is always an HD CRT monitor on the desk next to the cinema display.
Originally posted by TenoBell
1080P is actually far out of most peoples range also.
yes but don't companies tend to buy these pieces of kit rather than individuals?
Originally posted by TenoBell
1080P is actually far out of most peoples range also.
Blackmagic Decklink HD
PCIe Card $1000
Fibre Channel card $500
Sony 20" HD monitor $14,000
Sony HDCAM SR Deck
1080P 4:4:4 $100,000
1 TB RAID, at the least
(more for a feature film) $6000
There are cheaper solutions than a Sony HD monitor. And decks like HDCAM and D5 are commonly rented.
http://www.matrox.com/video/products/mxo/home.cfm