Joakim Ziegler
Forum Replies Created
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The Red Laser projector is natively larger gamut than P3/DCI, and will be DCI compliant, according to Red. They have said they’re using lasers, and said that lasers are inherently very consistent (which is 100% correct, since they’re single-frequency light sources).
With a max screen width of 15 feet for the smallest model, it’s definitely a professional product, and should be quite suitable for small to medium sized grading suites.
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Joakim Ziegler – Postproduction Supervisor -
Resolve on Linux, which has been 64-bit for a while, still prefers 12/24/48 GB of RAM. So it’s likely this is a hardware issue, although I’m uncertain how big the impact actually is.
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Joakim Ziegler – Postproduction Supervisor -
Primaries are the same, transfer curve is different.
Also, and this is very important to note, rec.709 is a camera transfer curve. It’s used for encoding values in a camera, not for displays. HD broadcast displays typically use a more or less pure gamma 2.4 transfer curve (and rec.709 primaries when displaying an HD image). sRGB is a bit more complex, being on average about gamma 2.2, but with a linear segment at the bottom, and something approaching gamma 2.4 in the highlights.
But, people here are right, most players/plugins will take care of the transfer curve conversion, and expect video to be encoded as if it were for broadcast.
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Joakim Ziegler – Postproduction Supervisor -
Embedded alpha is only on ProRes 4444 right now, but I talked to Peter at the booth, and more formats are coming. We specifically talked about TIFF sequences, which I’m guessing is the main thing that’s needed.
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Joakim Ziegler – Postproduction Supervisor -
Yeah, integrating new code and making a new release is a bit of work, and not something to be hurried along.
I’ll go out on a limb and say that there’s likely to be a new major release at NAB, and it’s likely to support RedColor3/RedGamma3.
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Joakim Ziegler – Postproduction Supervisor -
If your material is rec.709, why do you want a DCI projector? It’s not going to look any different or better.
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Joakim Ziegler – Postproduction Supervisor -
Very hard to say, of course, but ours has worked fine for a year. My main complaint is the lack of illumination for the keyboard, but apart from that, it’s fine.
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Joakim Ziegler – Postproduction Supervisor -
Yeah, what people would like is that if you use the same clip twice in your timeline (for instance two parts of the same clip), you should be able to use two different sets of decode settings, one for each instance. This is probably not all that difficult to do, it’s just a matter of loading the clip twice.
And yes, I would also like to see this. There are things you can do with the R3D decode settings that are difficult or impossible to replicate in grades.
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Joakim Ziegler – Postproduction Supervisor -
FWIW, if you want a dedicated scope machine, using the Mac version is kind of useless. You can configure a small PC with just the right hardware quite a bit more cheaply.
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Joakim Ziegler – Postproduction Supervisor -
Which model? The broadcast or the reference?
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Joakim Ziegler – Postproduction Supervisor