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Using a Kodak invention called a Bayer pattern filter, RED’s “Mysterium” sensor assigned each pixel a single red, green, or blue filter.
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However RED Digital Cinema Camera Company altered the meaning of 4K with the introduction of RED One, a camera with a single Super35-sized CMOS sensor boasting 4K horizontal pixels-but not full RGB data at every pixel. Kodak’s original 4K film scans had been uncompressed, with full RGB data for every pixel written to an uncompressed file type called DPX (more info at Wikipedia). Not only were 2K film scans deemed good enough for D.I., they required a quarter of the data crunching and storage of 4K-no small consideration, given slower computers and the high costs of bandwidth back then. Real-world resolution losses from 35mm contact printing, duping, and film projection meant few had ever experienced actual 4K on the big screen. 2K soon predominated for a number of reasons. This answer was universally accepted and seemed to settle the question.Īs Digital Intermediates grew in popularity, 4K and 2K-2048 pixels measured horizontally-entered the industry’s vocabulary. Kodak, developing its Cineon film scanner, produced an answer: 4096 square pixels measured horizontally across a standard Academy 35mm camera aperture (not Super35).
Here goes.īack in the 1980s during the first stirrings of “electronic cinematography,” the subject of how much resolution an electronic camera would need to match 35mm film came up often. In reporting Sony’s prototype 8K-sensor F65 camera in my initial NAB blog, I mentioned it was the first digital camera to deliver, per Sony, “true 4K images.” And I said I would explain 4K in a subsequent blog.
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How professional could $1000 editing software be, anyway?Īpps are now coin of the realm-much of a $750K DaVinci color correction system is now found in $995 DaVinci software for a Mac from Blackmagic Design-and while it’s hard to imagine where we’ll be ten years from now, we do know that change, like the expanding universe, is not slowing down.īelow are quick notes on advances in cameras, lenses, lighting, monitors, plus the camera as erector set and hummingbird. I remember producers transferring MiniDV cassettes of my footage to Betacam for digitizing back to Avid, oblivious to FireWire or FCP 1.0.
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This fifth and last NAB 2011 blog is really about churn.Ĭhurn, to my way of thinking, is the degree of agitation and upheaval in the industry at a given point in time, such as this NAB.Īpple’s sneak peek of FCP X at the Final Cut Pro Users Group 10 th anniversary SuperMeet reminded me that even a decade ago, indie filmmakers were still coming to grips with the desktop revolution. Gobbledegook or your next production choice?
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