Loi Banh

Sony V1U image sharpness, colour rendition and overall fidelity is noticeably better than Sony's own Z1, thanks to the CMOS sensors and the ingenious re-arrangement Sony calls Clearvid. Smaller form factor and lighter weight is a big plus for me. Low light isn't as great, but it's less noisy.

It means a lot if David Mullen is favourably comparing RED to Kodak 5245 EXR filmstock. For the budget minded indie filmmaker, this is fantastic news. REDCODE is VBR wavelet compression, so compressions of 12:1 is pretty much visually lossless since the format is so efficient and not prone to artifacts like DCT-based methods. Of course, everything I've read about it makes me think RED's implementation is extremely promising. For a strong showing of a first gen product, RED has got to have KODAK, SONY and others worried.

After doing some tests to get the closest approximation of the film look, I figured it was faster to use Cineframe than to do without. Part of the workflow was that de-interlacing in post was simply going to take too long. Cineframe knocks resolution down by about 15%-20% subjectively, whereas de-interlacing would knock it down by 20%-30% (depending on source material). (I could de-interlace in Compressor 2 for the ultimate in quality, but that method takes forever!) For the time savings vs amount of post-processing, Cineframe was the way to go for me. If it were a locked-down establishing shot, I might consider turning off Cineframe. It's great for scenes with little to no movement. Shoots with the Z1 are in 25 fps and later slowed to 23.976 fps for the film-look. B)

The 450 has true 24PsF. I've seen Z1 24 Cinemotion and it looks similar to Nattress' G Film filter but without the interlace strobing. If you try reverse telecining in program's like After Effects, there's a definite stutter.