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Originally Posted by Empty V
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Gotta read a little bit closer bro. I said it was not a broadcast camera, which it is not. As stated by PerroneFord, it is far beyond broadcast quality and way overkill. Downconverting is a long process and good luck finding a system where you can edit offline in realtime with a 4K image. FCP 6 cannot handle that, trust me. Do some research, the RED ONE camera utilizes tapeless acquisition only. Check out the brief description of the workflow here: http://www.red.com/workflow.shtml
Other ridiculously high end HD cameras that have this ability are the Grass Valley Viper, Arri D20 and the Panavision Genesis. One has to also remember that a 4K image doesn't mean that it's going to be an amazing picture. You can buy a cheap point & shoot camera that puts out a 10 megapixel image, but it will most likely look like junk. Resolution is only part of the story. There is a reason why these cameras go for the money they do. They could manufacture $15,000 4K bodies but they choose to go a different route, you get what you pay for.
Billy |
Maybe you should tell the RED guys then who have been editing 4K footage in Final Cut Pro on Macbook laptops
From what I understand, the RAW can just be pulled into FCP and edited either into the new FCP codec or directly on the timeline by pulling in a 1K or a 2K preview.
From what I have heard from people who saw the demo footage, 4K REDCODE is essentially film quality. Obviously you'd need good lenses though. I dont think the low cost of the body indicates low quality --just a different paradigm than most others.
Will definitely be interesting to see what comes out of it. Obviously missing are the really in-depth tests where someone deliberately goes all out to try to push the compression etc.