[Gary Huff]

[Tim Wilson] “So I would expect lots and LOTS of 4K/5K production for spots, music videos, corporate, and yes, even weddings, long before it’s common in either features or broadcast.”

You will get 4K acquisition for these things from people who rushed out to purchase the cameras because they felt it would give them an edge in getting work.

But they don’t get paid any more for it over 1080p acquisition.

Hardly anyone I know in the wedding biz can get clients to accept Blu-rays. They are all shooting 1080 and delivering in 480. A lot of corporate in the big tech industries here is being mastered in 720p.

Features are already 4k/5k production, even keeping it mastered there. Your statement is completely backwards, save for broadcast.

[Gary Huff]

[Andre van Berlo] “A lot of people already have equipment for external hdmi recording.”

Not at 4K.

[Andre van Berlo] “The GH4 as far as I know doesn’t take p2 cards but brand new SD cards”

It will take SD cards, but if you want to shoot 4K internally you have to use microP2.

[Gary Huff]

[TImothy Auld] “Certainly I’m already seeing it used in production fairly regularly.”

You are, but what is going to editorial? All of my work with Red Epic X has editorial requesting ProRes 4:2:2 HQ 1080 and no REDCODE Raw.

I think you’re going to see a lot of people invest in 4K cameras and give away the farm because they won’t be able to squeeze any more money out of the budget to make a 4K workflow and mastering worthwhile.

[Gary Huff]

[John Heagy] “Hang out at a 1080 vs 4k demo at NAB and see what people do. They ask “Is that 4K?” and then they walk up to it to see the difference. It’s not even close to SD vs HD… that was impossible to miss.”

The worse thing you can do is go to a Fry’s where they have the 4K demo display smack dab in the middle of all their newest 1080p panels. It’s really hard to spot the difference, except all the 4K demo material is at 30p and not 24, so the motion cadence difference between the two gives a slight clarity edge, which is b.s. since 1080 works the same way.

[Gary Huff]

[Oliver Peters] “So what were you getting at?”

That he can upload his 200-ish GB project into the cloud at 5Mbps and edit from there?

[Gary Huff]

[Andre van Berlo] ” On this forum I’ve seen people figure that they won’t need 4K editing capability for the next 2-3 years. This week I saw that Panasonic is going to release its GH4 with 4K. Estimates are that it will cost under 2K, perhaps even around $1500.”

Try more like $1999-ish, with the requirement of purchasing microP2 cards at $355 per 64GB.

Then, on top of that, it’s 8-bit 4:2:0 AVCHD (H.264-based) 4k.

Then you have the breakout box with 4 3G SDI ports…for another $2k.

Then either a Ki Pro Quad or the Odyssey 7Q.

It all adds up to not being that cheap.

[Gary Huff]

Which is why I want to see someone do a Red Cine X export out of both an iMac with the 780M 4GB vs these.

[Gary Huff]

[Erik Lindahl] “The theory of connecting multiple MacPro’s via TB2 would be interesting”

Surely you would hit that 10/20Gbps limit really fast once you got past one or two though.

[Gary Huff]

[Charles Ford] ” How do I get rid of it?”

Sacrifice a virgin goat.

[Gary Huff]

[Clint Wardlow] ” Esthetically, I enjoy a movie like Troll 2 that wears its shortcoming on its sleeve much more than some polished hollywood-produced crap fest. But that’s just me.”

And catering to you isn’t exactly a big enough market to keep yourself from having to have a day job.

Given that production is my day job, I can’t be interested in niche so much.