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MarcVanOsdale wrote:Hey Roger
Any interest in the Sony F65? It still hasn't been officially released, but unlike some other companies I can think of, Sony has demonstrated that they can meet their honest spec projections. Their Beta version is the only True 4K camera that I know of at this point (It's actually an 8K sensor with 4K of Green Pixels)...and, I've heard that Sony is actively pursuing a version with an optical viewfinder!
Obviously, one would have to wait to see the images that come out of the camera...but do you think this would be a camera you would consider using....or is Arri too close to your heart???
MarcVanOsdale wrote:Theres a great deal of confusing math that goes into measuring the true perceived resolution of a single chip CMOS. Red claims that their Epic is a true 4K image derived from it's 5K sensor...but that evaluation of the Epic has been conducted by only Red as far as I've heard. The only way to have an undoubtable 4K image would come from actually having 4K of Green pixels in your sensor...which only the F65 has, unquestionably 4K.
It's hard to say who will dominate the digital cinema game as cameras seem to change every 18 months now. Epic will no doubt be the camera of choice for 3D Production simply because of it's tiny size...but seeing that the F35 is still the most popular digital camera for large scale production, I'm sure the F65 will find a comfortable place in the market.
Fat Duke wrote:Vincent LaForet is an excellent photographer, but he is not a DP and certainly not a professional DP. Perhaps that's why he thinks the HDRx option is so cool... We'll have to wait and see if there will be any cinematographers that will use HDR in a creative way, meaning, not using HDR just because they can't light a scene properly...
Besides, my personal opinion is that cinematography is about the "beauty" and the dynamics between light and dark, and HDR points in the exact opposite direction. Its a shame that Red still has the mindset of seeing cameras as "toys" with fancy gimmicks like HDR and "K" count, as opposed to a tool of expression, or an extension of the human mind.
As Roger said before, and I agree, the 4K situation is nothing more than a technical exercise, I don't think it has any real use in a film, maybe for special effect shots or any other technical situation where a bigger spacial resolution is needed. But to this day, everything as been done in 2K. Avatar being what it is in post production work, was shot at 1080! So, I ask, who is so desperately in need of 6K, and why?
Fat Duke wrote:I'm really not technical enough to understand how these chips are built and what makes them different from each other in terms of "look", but (my) problem with the Red chip is that it looks "too digital" or "too unemotional" (for lack of a better meaning), and I'm not disputing resolution or overall image quality, just the "feel" of the image itself. I don't feel that with the Alexa, as its image tends to be more "organic" looking, and apparently they share the same sensor technology.
David, you are right about 35mm being scanned at 2K, and that not being the best "technical" option. But appart from digital post work, would another 2K difference be of any addition to the image quality? Red One is 4K (or close to that) and its image quality is (in my opinion) far below from that of the Alexa which is only 2K? Is this spacial resolution really what is standing in the way of achieving a richer file? Wouldn't it be perhaps more significant to increase the size of the sensor? Wouldn't that increase the overall power structure of the captured image?
Fat Duke wrote: Andrew, when I said toys I didn't mean it in a derogative way, but rather in the way that they put things in their cameras to entertain the user, without any real value to a film. And also the way they market their cameras almost like they were a commodity, something you can own, like a fancy car... And I don't see any of this having any valuable impact in film making, that's all.
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