Peter Osinski

no, not at all. At hearing it yeah ok maybe.....but when I take a 4k frame and put it up on a 40" 1080p screen, then continually zoom in more and more and more without noticing any reduction in the sharpness of the image, then zoomed in the same exact amount on a 1920x1080 frame and saw it looked like a pixelated (real word? whatever) mess, then i start to believe. something interesting though...a story I heard, my details may be a bit off... some scientists at kodak did a test where they took a 4k projector and set it on an IMAX screen in front of an audience. They first projected 4 squares, in 2 rows.....black white, and white black underneath. They continued to increase the number of squares in a checkerboard pattern until they essentially got up to 4k resolution where the black and white squares were the pixels essentially. The thing is though, that before the even reached the full 4k, the audience couldn't notice the detail of the checkerboard pattern and everything looked gray.... Sometimes I think, especially due to the fact that cineplex sized imax screens are gaining popularity over the giant ones, that we are getting to the point where we will not be able to see the difference in resolution. That doesn't mean that a 4k or higher image won't be superior when scaled down to formats shot and projected at the same resolution, or that it won't make VFX compositing look cleaner, or that reframing won't look better.

before I reply let me just say that I do not own a RED 1) Disagree:They acknowledge the true resolution of their RED ONE's mysterium sensor to be 3.2K, and the Mysterium X to be 3.7K after debayer and they make it a point of telling people that their upcoming 5k camera is what will be a true full resolution 4k. Agree:That being said, I am discouraged that they seem to make 4K seem like the be all end all when I might possibly be purchasing a 3k bayer cam from them (about 2.6 RGB) that hasn't even come out yet. 2) Disagree:Well for starters on this one, they had one camera....their first camera....and a lot of people didn't just jump on board but they made a leap of faith on board. they had imagined at the time that camera could be upgraded from now on...(and to a degree it can because you can continue adding on better accessories and now even the new sensor). They realized I suppose that it was not obsolescence-proof enough so after 2 years...yeah 2 years....they offered their customers the option to trade in their camera for full purchase value towards the new modular system. Can you think of any other camera company that has done that? Or any company for that matter. Toyota is letting people return their cars only on a "case by case basis" and their products are potentially fatal. The old accessories also will work on the new camera systems btw. For more I do suggest you read a little bit about the company's new program on reduser.net. Agree: Nothing is truly ever going to be obsolescence proof, true, maybe they shouldn't say that...I don't know...It's hard to see your side on this one...When my panasonic DVC30 started becoming obsolete Panasonic didn't offer me anything trading it in for the HMC40 (HD version of dvc30) 3) Disagree: This is ridiculous, you can't possibly hold a camera company responsible for the way people use their products. That's like faulting a computer company because instead of a student using his laptop to write his paper, he used it to go online and buy a pre written one from someone else. 4) It's not uncompressed, its a proprietary codec, and it performs very well. DVCproHD at 1080p is actually compressed to 1280x1080 and I'm sure resolves to slightly less and goes at a rate of about 1GB/min. At redcode 36 you end up with about 6 times more resolution at about only about double the Data rate. 5) If you really wanted to compare apples to apples you would have to include the cost of 2k HD telecine to have close to equal stats. You would have to rent lenses for any camera (unless its fixed lens prosumer like an HVX or something), The amount you save on not doing the processing, telecine, or buying film stock with RED could easily pay for a DIT. Apparently you don't color grade unless you are using RED, but for the rest of us color grading is done whether the footage originated on film or digital. Everything I have shot on film I have a digital archive of the master and all footage. Look if there is one thing I hate it's RED fanboys, but RED is a great company. They are looking out for their early adopters, they are connected with their user base...hell...I have even gotten direct responses to questions in the past from Jim Jannard. I don't know who the CEO of panasonic is but I'll tell you he didn't help me out when I had questions about the hmc150. Marketing is a part of life in this country. That sucks to some of you out there but it is a result of something good called a free market. There is competition which yields better products. So the RED wasn't full 4k right away, but it was still a 3k camera that looked great printed to film or on 2k projectors when we went to the movies, and it was a fraction of the cost of many digital cinema or film camera systems. Would you rather it be like in the soviet union where they just churned out products without giving us a choice. Anyone who has used a K3 that suffered from poor quality control knows what I'm talking about. Yeah there is a lot of hype, but when they can't live up to something they promised they admit to it ( for example they recently stated boot times would be closer to 10 seconds for the new cameras rather than 2 seconds as planned). You have every right to your opinions and I hope you give RED a chance, but really man, if this gets you so angry I'd hate to see what happens when you go to McDonalds and your mashed up defrosted burger doesn't look like the picture on the menu.

ok so.... in that case why do you need to finish this to 35mm? Is it for a presentation of some sort? I just cant imagine how keeping getting 16mm with an HD telecine and mixed with HD footage wouldnt be better off in a digital format, especially if it is going to be broadcast

look into the sony hdc-sd9 from panasonic... its only about 550 and takes sd cards...24p not 24f, full HD check up on manual controls or mic inputs though the hv20 doesnt have full manual control, just an av and tv mode hv30 can set shutter and aperature independently to give you much more control anyway think about that but.... consumer HD cam - 600 tripod - 300 extra batteries (buy generic in bulk) - 100 maybe some lights...i dont know....but stay away from 35mm adapters for now

well, my humble opinion would be to load the footage into FCP, import it as Apple Pro Res HQ, preview the footage on a good 1080 monitor and then watch it compared to your other footage..... put them side by side at full resolution if you have 2 monitors.... the avchd will be lesser quality for sure because the sony only uses avchd in consumer models which aren't ever going to be up to par with anything that shoots p2.... you will notice a difference but as long as it isnt horrendous I'd say use it... but also remember, if it is a special type of shot like helicopter or underwater or POV, people won't always expect it to be equal quality and probably wont be phased by it... what's cemex though? why would your end format be film for a commercial? is it going to be played in a theater? message me when you have the footage up though, I'm interested to see how the mix of formats looks

cool, thanks

apple requires you convert to pro res to edit avchd, premier pro cs3 requires the purchase of an expensive plugin to convert the files. and in either solution going between apple and adobe programs wouldnt work edit: or you could get the panasonic transcoder but that locks you into 1080/60i and defeats the purpose of having a camcorder that records other formats such as 1080/30p 24p and 720/30p 24p and 60p

I was interested in this also. I am looking into getting the new HMC150 but wanted to be able to use both Apple and Adobe Programs without any problems. I know that adobe does not support avchd, and I'm not sure what premier, after effects, and encore's deal is with apple prores 422, but I am pretty sure that both final cut studio 2 programs and adobe production premium 2 programs will run DVCproHD just great. This is what I was thinking...I could capture my AVCHD files right off the card into Apple Pro Res 422 using FCP, then maybe use compressor to convert those files to DVCProHD and be able to use them in any of the adobe or apple programs. Any thoughts on this? I know it would take a long time but would it work? My setup would probably be mac pro 8 core 2.8ghz 4 GB ram adobe production premium final cut studio 2

ok so sometime between this coming winter and next summer I am going to be making the switch to HD. Obviously for a soon to be college graduate thats going to cost me a lot of money so I need to plan this well in advance. I have some problems figuring out my work flow and I was wondering what you guys thought. As far as a professional client based environment goes I am sure I will be able to work around most of my problems but I am basing this work flow around my primary interest and goal of making surf movies. _____________________________________________________________________________ Right now I have an hp pavillion zv6000 which I think may have the right slot for dumping p2 footage but I am not positive. It has a gig of ram and a 2.4 ghz processor. It will be 4 years old with no warranty, it runs kind of hot, is heavy, and uses so much power I cannot use it with a car power adapter. I am planning on buying a mac pro. Probably the base level version with 2 gigs of ram and the dual quad core 2.8ghz processor. I plan on getting either the hpx170 or the hmc150. HPX170: pros: flip mode delete last file uses p2 cards (reliable) 12 frame rates focus assists and image monitoring can be used in premier or final cut pro better image quality than avchd? ( i wonder if I could even tell the difference between this and the hmc150's professional mode) cons: uses p2 cards (expensive) requires the dumping of footage onto a laptop bad for shooting in the water (p2 problem again) HMC150 pros: very long recording times full frame recording (i heard dvcpro hd only does 1440 by 1080) 24p, 60p available relatively inexpensive media (sdhc cards) does not require footage dumping anywhere near as frequently cons: don't know if avchd will be comparable at all to dvcprohd or will look less professional can't be edited in premier cs3 media may be less reliable/durable they say there is a 23 m/b per second speed but it looks like the max on the 16gb hdhc card is 20 mb/s _____________________________________________________________________________ Ok so thats how I feel about each one (and shows I have done some research). The next issue is computing. If I got the hpx, i would probably have to buy a new laptop in addition to the mac pro for p2 offloading, unless I used my current laptop which would be cumbersome and Im not sure would even work. With the hmc150 I have enough recording time to wait until I get home from a trip, or I could just spring for another sd card easily. I would prefer to edit with final cut pro, but I also need photoshop, illustrator, and after effects. As is, ppro cs3 does not support avchd. So if I got the hmc150 I would have to buy both the production premium suite from adobe and final cut studio 2 to get all the other programs I need as well as an editor that can handle the footage (you cannot buy final cut pro on its own as you know). Also, I hate motion and the way its set up, and dvd studio 4 does not prepare content for blu ray. If I got the hpx I could get the cs3 production premium and be set.....but....it seems more places I would see myself working use fcp and I would not be able to work at home with cs3 and not final cut studio. _____________________________________________________________________________ I have come up with the following possibilities, tell me if you think of some others or reasons why this wouldnt work... 1 HPX170 5500 Adobe cs3 599 (education discount) Mac Pro 2800 (education discount) PC Laptop 700 (after selling my current one) 16gb p2 850 total 10,450 2 hmc150 4500 adobe cs3 599 fcs 2 699 Mac Pro 2800 16gb sd 160 total 8,758 any suggestions or comments, ideas of which I should go with?

well, its a shoot that has something to do with a band, which is pretty well known actually, so maybe at the end they are having a big show. They are shooting from 4am til 7pm but they said dress blacks for the performance. Maybe hes playing a show or something like that, overall its like an on the road type deal for something called ovation TV. Im just trying to figure it out because its in VA beach and im not trying to sweat my butt off for 13 hours wearing all black in the summer

I am going to be the video PA on a shoot next week and I was told that all crew must be in "dress blacks" for the performance. Does that just mean all black clothes or what

I saw an example of one online and followed the example, let me know what you think oh and check out my demo reel http://skateperception.com/viewvideo/11272/ Resume.doc

sold

check it out on ebay

ok thanks, Ive spent about 3000 bucks so far on this surf film I have been working on (over the last few months) and it has been a constant drain on my not currently employed-college student budget. I am trying to save as much money as I can between camera equipment and travel so that I have enough money to get the dvd duplicated before the premier