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RED 8k camera, a sign of things to come from apple?
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The 8 K monitor that goes with such beastly cards is also available courtesy of Dell :
https://www.dell.com/en-us/shop/dell-ultrasharp-32-8k-monitor-up3218k/apd/210-alez/monitors-monitor-accessories
However, there is still the small matter of purchasing the new 8 K Red camera… 🙂 -
[Robert d'Alexis] “I believe such a card already exists: https://www.nvidia.com/content/dam/en-zz/Solutions/design-visualization/doc...”
Benchmarks and YouTube videos have demonstrated the Quadro cards are inferior to the GeForce cards performance wise when using Premiere Pro.
Maya, 3DS MAX and Auto CAD might bring about very different results when using those same cards.
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I think what is going to be the key issue is offering a machine that can edit and grade 8K raw and a different story for 8K prores. The new HP machines are aiming at 8K raw performance, but with an eGPU, the razr, new MacBook Pro and iMac are probably able to edit 8K prores if the storage is fast enough. I’d predict that the new Mac Pro will have a giant single GPU inside that is upgradeable but with thunderbolt 3 and an egpu it could be doubled up
Co-owner at Pollen Studio
http://www.pollenstudio.co.uk -
So what’s the fascination with 8K anyway? Theaters aren’t close to that resolution and they are the gold standard. Most of the 4K you see isn’t truly 4K resolution – especially if you are viewing a compressed format over the web or on an OTT channel.
I just did a job (2-cam interview) shot with an 8K RED and a 4K A7S. The A7S looked better in that case. The only interest I see now for 8K – and for most of 4K – is either bragging rights or to punch in, as needed. For example, Fincher shoots 6K, frames within 5K as “safe” (for repo and stabilization), and delivers 4K.
A lot of my jobs lately are shooting 4K, but cutting in 1080. I often punch into the 4K for tighter shots and end up having to slightly sharpen, because the punched-in 4K (even at less than 100%) is not as sharp as native 1080 and certainly not as sharp as 4K scaled down to 1080. Frankly, a lot of the 1080 scaled up 120-140% (for tighter angles) looks nearly as good, given the right camera.
– Oliver
Oliver Peters – oliverpeters.com
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It’s a camera aimed at cinema and high end, not corporate. Arri has released the 65 and red has responded with this. Future proof, push boundaries and win the market – red know what will come next and that is higher resolution TV and cinema. Especially with the frame sync ability of red compared with Sony a7 etc for VR shoots
Co-owner at Pollen Studio
http://www.pollenstudio.co.uk -
[Tom Sefton] “Future proof, push boundaries and win the market “
Except that they haven’t. Arri has beaten them in every respect, in spite of lower resolution by the numbers.
– Oliver
Oliver Peters – oliverpeters.com
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Arri wins for most features, red wins for VFX based work and for Netflix/amazon.
Co-owner at Pollen Studio
http://www.pollenstudio.co.uk -
[Tom Sefton] “Arri wins for most features, red wins for VFX based work and for Netflix/amazon.”
I don’t know about that. I’ve worked with both and will take ARRI any day of the week. It’s just simply the better-looking image. As far as VFX, that’s not universally true. All sorts of cameras are used for VFX, even when the prime camera might be something else. Where RED is used for VFX, the REDCODE RAW files are usually first transcoded to something else, like image sequence files, so that the color science is properly managed throughout the pipeline.
As far as Netflix/Amazon, that’s only because they request true-4K sensor acquisition, which also means an FS7 is acceptable over an Alexa, regardless of how the image actually looks. There’s more that goes into this than just a raw pixel count. Bayer-pattern sensors, which are largely what everyone uses, make it very tricky to really make accurate claims on resolution just by pixel numbers. If you go by equivalencies, the older GVG Viper camera, which generated a 1920×1080 image, was a 6K camera, because it used 3 full-resolution 1080p CCDs for image pick-up.
– Oliver
Oliver Peters – oliverpeters.com
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PS: A friend reminded me of this demo:
Also, here are some old blog posts of mine and image comparisons I’ve done related to higher resolutions:
https://digitalfilms.wordpress.com/2008/05/27/resolution-purists-and-the-real-world/
https://digitalfilms.wordpress.com/2016/04/29/4k-is-kinda-meh/
If you are serious about working in the 8K world (not that H.265 BS, but with real, high-quality files), it’s time to dump your Macs and go over to the dark side ☺
– Oliver
Oliver Peters – oliverpeters.com
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Would you take the challenge to spot arri footage against red with the new IPP2 colour science? We’ve got both red and arri and with blind tests it’s hard. Very hard. Some of the in camera LUTs for in camera processing bring prores images that are jaw dropping.
I wouldn’t say one is better than the other, just has subtle differences. Arri is gorgeous for skin tones – the new blade runner looks absolutely incredible too. VFX work is, in the U.K. at least, more red based, along with most that has been shot in 3D or VR. Majority of marvel or comic book films tend to be too.
The major difference is the versatility and resolution, coupled with more fps. If the argument goes that resolution doesn’t matter as much and the colours and quality of pixels are more important,, why would arri bother with the 65.
Co-owner at Pollen Studio
http://www.pollenstudio.co.uk
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