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Looking forward to seeing what the next Canon 5D will do. Could very well have 2k resolution and do 120+ fps at lower resolutions with it's big full frame sens

by hop 16y ago

Looking forward to seeing what the next Canon 5D will do. Could very well have 2k resolution and do 120+ fps at lower resolutions with it's big full frame sensor.

pokjhnboi 16y ago
The sensor is the easy bit - it's getting the data out that is clever. The 5D can only store heavily compressed H264 even at 1080p30. 2k lines @ 120fps is 1GBytes/s - thats a lot of data to push
ashconnor 16y ago
At a fraction of the price.
- protomyth 16y ago
  I don't think that will be accurate with Scarlet showing up. The other big difference from the Red cameras and Canon is RAW versus a heavily compressed h264.
  - alexqgb 16y ago
    Which means it's not even remotely comparable for professional work. Keep in mind that it's not just the amount, but the type of compression that's decisive. Spatial codecs (also known as intraframe schemes) deal with each frame independently. That is to say, they don't apply calculations across a set of frames, even when much of the information is repeated. Temporal codecs (also known as interframe, of which H.264 is the most popular example) achieve vastly lower file sizes by applying samples from one image across a set (aka a 'group of pictures, or GOP). This is fantastically useful for broadcast and streaming, since you get high visual quality in an efficient package. But if you try to DO anything with that video (reformatting, enlarging, compositing, etc.) the downside will become very clear very quickly. Typically, professional shows are going to demand a lot of flexibility in post, meaning they're likely to insist on spatial codecs whenever possible.
    - protomyth 16y ago
      I have seen some 5D stuff that was pretty good and House used one for an episode. I think the Epic is going to be a big hit (size, 5K raw) and I expect the same of Scarlet.
      - alexqgb 16y ago
        House is engineered for television, not big screen projection. And it has no time of money for serious effects. Also, it's mostly shot in situations with very controlled lighting. Add all that up and it means there's a lot that they can get away with. It's great that they did. But that was very recently, and again, the original question was 'why didn't this happen a decade ago?'.

by hop 16y ago

Looking forward to seeing what the next Canon 5D will do. Could very well have 2k resolution and do 120+ fps at lower resolutions with it's big full frame sensor.

pokjhnboi 16y ago

The sensor is the easy bit - it's getting the data out that is clever. The 5D can only store heavily compressed H264 even at 1080p30. 2k lines @ 120fps is 1GBytes/s - thats a lot of data to push

ashconnor 16y ago

At a fraction of the price.

protomyth 16y ago
I don't think that will be accurate with Scarlet showing up. The other big difference from the Red cameras and Canon is RAW versus a heavily compressed h264.
- alexqgb 16y ago
  Which means it's not even remotely comparable for professional work. Keep in mind that it's not just the amount, but the type of compression that's decisive. Spatial codecs (also known as intraframe schemes) deal with each frame independently. That is to say, they don't apply calculations across a set of frames, even when much of the information is repeated. Temporal codecs (also known as interframe, of which H.264 is the most popular example) achieve vastly lower file sizes by applying samples from one image across a set (aka a 'group of pictures, or GOP). This is fantastically useful for broadcast and streaming, since you get high visual quality in an efficient package. But if you try to DO anything with that video (reformatting, enlarging, compositing, etc.) the downside will become very clear very quickly. Typically, professional shows are going to demand a lot of flexibility in post, meaning they're likely to insist on spatial codecs whenever possible.
  - protomyth 16y ago
    I have seen some 5D stuff that was pretty good and House used one for an episode. I think the Epic is going to be a big hit (size, 5K raw) and I expect the same of Scarlet.
    - alexqgb 16y ago
      House is engineered for television, not big screen projection. And it has no time of money for serious effects. Also, it's mostly shot in situations with very controlled lighting. Add all that up and it means there's a lot that they can get away with. It's great that they did. But that was very recently, and again, the original question was 'why didn't this happen a decade ago?'.