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I think you're overstating a little - I've been editing RED footage on laptops for years (no joke - my main machine is a mid-2011 MacBook Pro 15 inch and I can

I think you're overstating a little - I've been editing RED footage on laptops for years (no joke - my main machine is a mid-2011 MacBook Pro 15 inch and I can edit 4K RED files natively in Final Cut Pro X and Premiere CS6)... Rendering takes a little while at the end, but the files downscale to 1/4 resolution on the fly and play back real-time while you're editing. It's never really been that bad - originally we'd just pump out a 1/4 or 1/8th res proxies out of Redcine and then reconform to the full-res files at the end, so you'd only have to render out the ones you'd need in full quality for grading. We did it all in house on pretty standard machines... And I wouldn't say that 35mm film was 'better' - really, that is a big oversimplification. 35mm definitely had the edge over the original RED Mysterium sensor in dynamic range, but not in resolution - although some crazy people scan 35mm all the way up to 6K, when you measure what you get you don't get anywhere near that (I can't remember the numbers exactly now - If I recall, due to the OLPF to stop aliasing and other factors, a 4K pixel raster from the RED ONE would measure at about 3.2K (horizontal), and a 35mm camera neg was somewhat less (around 2.8K or something?)).

KaiserPro 13y ago
on a mac! and remember editing has always been easier as you can work with proxies right up to delivery. Also Final cut was the first to have native support. In post land where we are mostly linux, and scaling up macs cost mega bucks, it was not so rosey. From a post point of view, its much harder to deal with just proxies. I was in MCR, so It was my job to convert from RED to exr/dpx etc. Since it was post, artists had to deal with full res most of the time (can't paint and rotos proxies) Your right it is an over simplification, but decent film stock and decent scanner can get "4k" out of 35mm+, however as you rightly point out you are reaching the limit of the actual res of the film stock (more than quite a few cases) +I used to work with a northlight which overscanneds to 8k then down samples to give the final result.
- HNLogInShit 13y ago
  "Also Final cut was the first to have native support." No way. FCP was way, way behind Premiere and possibly even Vegas. FCP 7 NEVER had native Red support. I don't think even FCP X had it initially. Apple dragged ass on Red support for ages; even Color couldn't be used fully because its ISO setting maxed out at a hard-coded limit of 2000.

KaiserPro 13y ago

on a mac! and remember editing has always been easier as you can work with proxies right up to delivery. Also Final cut was the first to have native support. In post land where we are mostly linux, and scaling up macs cost mega bucks, it was not so rosey. From a post point of view, its much harder to deal with just proxies. I was in MCR, so It was my job to convert from RED to exr/dpx etc. Since it was post, artists had to deal with full res most of the time (can't paint and rotos proxies) Your right it is an over simplification, but decent film stock and decent scanner can get "4k" out of 35mm+, however as you rightly point out you are reaching the limit of the actual res of the film stock (more than quite a few cases) +I used to work with a northlight which overscanneds to 8k then down samples to give the final result.

HNLogInShit 13y ago
"Also Final cut was the first to have native support." No way. FCP was way, way behind Premiere and possibly even Vegas. FCP 7 NEVER had native Red support. I don't think even FCP X had it initially. Apple dragged ass on Red support for ages; even Color couldn't be used fully because its ISO setting maxed out at a hard-coded limit of 2000.