4K stuff at NAB

[Jeremy Garchow]

With the affordability of RED, we would sure think about it. There are times when we do these humongous corporate events and we might as well be showing movies at the size of the screens and projectors they have available for rent these days. I am sure you are familiar with them and the types of gigs LMG loads in. In shows with these 80 foot or 90 foot screens, 4K could be beneficial, as long as the equipment, post workflow and data management proved to be worthy and doable without adding much in terms of gear and man power to what we already have, understanding that some investments would needed to be made. We will be watching and staying tuned closely to what’s going on. We have not bought a ‘big body’ HD camera as we are waiting to see what’s going to happen in the coming year so we continue to rent. If we can get away with 4k in a relatively proven workflow (as proven as DVCPRO HD) then we’d think about it. Also, it might prove that RED can shoot in HD as well, so if that works, we might just stick with 720 and 1080p. What do you think? DO you think you will be installing 4K suites?

Jeremy

[Tom Daigon]

As a previously all Avid facility anticapting a transition to all FCP in the future, the way we look at it….if the system is robust enoudh to handle 4k, it should be able to handle just about anything the clients throw at us.

[Bob Zelin]

Jeremy writes –

I am sure you are familiar with them and the types of gigs LMG loads in.

REPLY – yes, LMG has the largest hi def “mobile” setup in Orlando, and unfortunately, I had nothing to do with it. They stopped using me after they abandoned their AVID systems.

Jeremy writes –
DO you think you will be installing 4K suites?

REPLY –
I have NEVER seen a SRW-5500 VTR other than as a rental VTR in Orlando. I have never seen a Panasonic D5 in Orlando. I have never seen anyone do 2K in Orlando. So will I see 4K ? Maybe – but only because the camera is $17,500 – so with the lens, it will still be cheaper than a Varicam (and a CineAlta). No matter what is shown at NAB in 2007, I anticipate the “big” product for Orlando this year will be (don’t laugh) the Sony HVR-1500 pro HDV VTR. I always look with jealousy at what is going on in LA, while we are in the corporate convention/infomercial/cable show world here. If Disney Burbank demands 4K footage from Orlando, only then (in my opinion) will we see 4K production here – but I could be wrong !

Bob Zelin

[Gary Adcock]

[Bob Zelin] “Who will be the first to ask “can I get a trade in for my original Kona SD card”

I have an original hand soldered one!!!
does that count for anything???

the greatest needs for the 4K workflow is not a card, Viewing and storage. 4K is about 54. MB per frame… (MEGA BYTEs encase anyone is not paying attention.) and how many displays can take a 4550 x 2566 image size.

I am waiting for the I shot 4k can I offline in HDV???

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

[Walter Biscardi]

[gary adcock] “I am waiting for the I shot 4k can I offline in HDV???”

I’m waiting for the “Can’t AJA make an Io 4K that works on my laptop? Surely it can’t be that hard?”

Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Rich Rubasch]

There is no doubt that the 4K market will be driven by the projection market where the image will be seen on a big screen. Huge with indie filmmakers who want the best master format. If you can get these files into post imagine how you could manipulate them! Imagine flying around a 4K frame in a DVCProHD sequence. It is the same thing with HD in an SD environment. Creatively there is more latitude.

There is already a huge fan base for the Red camera. Mostly because it is the wow factor….sort of like the “how many megapixels is your digital camera,” even though 4 or so is probably enough for a decent print.

So for big, honkin wide shows that are projected and have the budget, or films that will be digitally projected, that’s where the market will be driven from. I can see Disney getting all jazzed about it for some of their screen presentations.

Is there a compressed codec that can handle the large frame size, or does the workflow require uncompressed througout?

Rich Rubasch
Tilt Media

[Jeremy Garchow]

[Rich Rubasch] “Is there a compressed codec that can handle the large frame size, or does the workflow require uncompressed througout?”

See that’s where it gets interesting. All the conjecture that I have read on red is that there will be a compressed 4K option which has been quoted to be around 30 MB second @ 24fps (or the same as 10bit uncompressed SD).

As I said, if the workflow proves to be worthy, we’d look at it, especially if the camera can shoot 720/1080 as well.

Jeremy

[Walter Biscardi]

[Rich Rubasch] “Is there a compressed codec that can handle the large frame size, or does the workflow require uncompressed througout?”

Considering how AJA already does a lot of conversions with their current crop of products, I’ll be interested to see what they have to say about all of this. We can already take uncompressed HDCAM material and drop it all the way down to DV in realtime for offline editing with the Konas.

Should be a fun NAB!

Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Aaron Neitz]

4k is such a specialty resolution – I doubt 1 person in 1000 FCP users would even begin to have a client that needs it. That’s the realm of ultra budget feature films and Imax.

But it would look pretty freaking amazing. Imagine a 4k DLP in your screening room….

[Walter Biscardi]

[CharlieX] “4k is such a specialty resolution – I doubt 1 person in 1000 FCP users would even begin to have a client that needs it. That’s the realm of ultra budget feature films and Imax.”

That’s pretty much what I’m thinking too. We’re doing broadcast HD and nobody we work with is even shooting uncompressed, it’s all DVCPro HD and HDV so I don’t imagine any of our clients will require a 2K in the near future let alone 4k.

Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters