Originally Posted by Cinema626
okay, i shoot and work with red cameras daily, i have seen a majority of red films in digital 4k. apparently you can tell anything about a film just by looking at it in the theater! your eyes must process the projected image and turn it into a raw file which your cyborg mac pro brain then analyses and tells you exactly what the fidelity of the image is.
the sensor does not really resolve 4k (http://magazine.creativecow.net/arti...ture-of-pixels
). look at the file, you will see I am correct and the industry is well aware of this. thats why the newer cameras are resolving 4k by downsampling larger resolutions. its the reasons the alexa and the red have almost the same latitude, ahem, DR (seen the alexa do a little better). Alexa achieves true HD by downsampling from a 3.5k sensor.Just because your iPhone shoots 1080p doesn't mean it's actually 1080p when you get down to it. most cameras don't really resolve their advertised rez. it's fun to watch them play the numbers game and it keeps things interesting.
The article you quoted is 4 years old and with many flaws. The now 2 year old Epic resolves 4k easily with its 5K sensor. We work with Red footage daily and have edited over 20 feature films shot with Red Ones and Epics. Our rental company has provided Red Ones and Epic to over 30 feature films and hundreds of commercials...and we are just a small company. Red cameras have shot hundreds of feature films, including major blockbusters like the upcoming Spiderman, The Hobbit Trilogy, TGWDT, Prometheus just to name a few.
I referenced TGWDT because not only was it shot at 4k, but is was finished in 4k and delivered via DCP to the cinemas in 4k. If you watched in projected digitally from a 4K projector, the difference is clearly visable. I also saw a 35mm print which looked nice, but not as good as the 4k DCP
The Hobbit is being shot in 5K 3D at 48fps...can any other current cinema camera do that?