James Cameron bought 50 RED EPIC-Ms

[Human No More]

Originally Posted by Theorist

idk how you guys can tell the difference, 1280x760 or whatever looks the same on my computer as 1920x1080, except size. And I can't tell the difference between 30fps and 60 fps in games. Maybe I'm slow lol. But I hope this is good news for A2

It isn't that hard. Maybe it takes some practice, but it's fairly easy to me.

Low framerates need to use special tricks to stop it looking really bad, such as artificially blurring frames with movement - without that, they would look far worse.

[mikkowilson]

Resolution sensitivity depends vastly on content and viewing distance.
And framerate sensitivity is a lot subtler, that again depends massively on content.

Most professional content is done right, so it looks good in most display environments. But when it's messed up, boy does it show.

To an untrained eye, both a DVD and a 1080p BluRay will look good on an appropriately sized HDTV viewed from the right difference. But when you look at them side by side; then the differences become apparent.

- Mikko

[Moco Loco]

I've never been bothered by low frame rates, but apparently 3D makes people notice them

[mikkowilson]

It's subliminal, but can make a huge difference to how it "feels".

- Mikko

[mikkowilson]

There are entire formulas to how to avoid motion judder at lower frame rates. At a normal 180° shutter at 24fps, you don't want to pan any faster than 7 seconds for something to cross the frame.

And yeah, that's really slow.

But by opening the shutter, using selective focus, and tracking objects in the frame; it's possible to change that number and make faster moves.

But frame rate for motion judder is a serious issue. One of the biggest surprises for amateur film-makers coming from 60 field-per second video to 24 frames per second.

But on the flip side, 24p video has a certain "film" look to it that is very much desired. - Though much of that look isn't from the framerate itself, but from the restrictions it places on the cinematographer.

It's a complicated mix. And there are more tools and techniques than ever available to the story teller to tell their story in their desired way.

For James Cameron on Avatar; the idea is an immersive storytelling experience; and for that a higher frame rate and 3D can definitely be a boon.

- Mikko

[Alan]

Originally Posted by mikkowilson

There are entire formulas to how to avoid motion judder at lower frame rates. At a normal 180° shutter at 24fps, you don't want to pan any faster than 7 seconds for something to cross the frame.

And yeah, that's really slow.

But by opening the shutter, using selective focus, and tracking objects in the frame; it's possible to change that number and make faster moves.

But frame rate for motion judder is a serious issue. One of the biggest surprises for amateur film-makers coming from 60 field-per second video to 24 frames per second.

But on the flip side, 24p video has a certain "film" look to it that is very much desired. - Though much of that look isn't from the framerate itself, but from the restrictions it places on the cinematographer.

It's a complicated mix. And there are more tools and techniques than ever available to the story teller to tell their story in their desired way.

For James Cameron on Avatar; the idea is an immersive storytelling experience; and for that a higher frame rate and 3D can definitely be a boon.

- Mikko

Ok just playing catch up here. That's interesting stuff Mikko. Wish I know more about all this kinda stuff. I've been reading a book about Stereotography and there are formulas covering the required pixel shift depending on monitor size and stuff. Also the larger the screen the closer the cameras have to be next to each other...depending on distance of the object from the camera...which is why James Cameron and others you the beamspliters, so the cameras can 'go inside' each other. I have much to learn!

Anyway, just to keep on track regarding the Red one cameras and the like, I got an email from Canon advertising there super new cinema camera (EOS C300). It looks similar to RED's Epic, but without the grills! Anyway you can check out the info via these two links:

Canon Professional Network - Canon EOS C300 & C300 PL: landmark Digital Cinema Cameras for Canon

Canon EOS C300 Digital Cinema Camera revealed [Video demo] - SlashGear

But before you start think 'Ooooo, want one!' be sure to have $20,000 for the camera.....

I'll have two - for stereography...and then I'll wake up for breakfast!

Alan

[Aaron]

Originally Posted by Alan

Anyway, just to keep on track regarding the Red one cameras and the like, I got an email from Canon advertising there super new cinema camera (EOS C300). It looks similar to RED's Epic, but without the grills!

...and here's the RED SCARLET:
Scarlet-X

Drat! I still owe you that footage, Alan. I'm in "slacker mode" big-time, or perhaps the wind has just been completely taken out of me by this SCARLET release. I'm fairly disappointed. I'd really been hoping for the 2/3" sensor. With the S35mm sensor, I'm afraid it could never become the primary tool in my video arsenal. To get acceptably-deep DoF for run-n-gun/casual videography, I'd have to stop it down like crazy and then mount big lights all over it! For as often as I find myself getting artistic with my shooting, I'd probably be better off adding a DSLR to my camera collection versus replacing anything with a SCARLET. Bummer.

The other thing that kills me about the SCARLET is that 60fps ends at 1080p. All higher resolutions fall into the "filmic" framerates. Casual videography and 24fps do not mix at all in my book. Those framerates are for situations where you can plan shots, know where the motion is going to be, and get the shutter and everything set for the right amount of motion blur. I seldom have time for that.

One interesting thing is that, while everybody was swooning over the C300 at the Canon event, Canon quietly announced that they were working on a DSLR that sounds somewhat SCARLET-like:
Canon Global : News | News Releases

Of particular interest is the Motion-JPEG shooting. Canon has really resisted the urge to move from MPEG2 to AVC in their pro and prosumer gear, and this appears to be their next move. Exciting! (Motion-JPEG is basically what REDCODE is). I'll be interested to see where the rest of the frame rates and resolutions fall.