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Very soon we will know more, but Red has given some more hints about the Scarlet. It will be running Red Code, which means more-than-HD. It will be smaller than the Red One, but “it won’t fit into your shirt pocket.” And it will cost below 10,000 USD.
As a follow-up on my previous post, here is a bit more information about that truly mesmerizing Adobe research project, which proposes to build lenses that act as multiple lenses. This will enable the camera to take multiple pictures at once, shifting the job of setting focus from the Focus Puller to the post production process.
Take Several Shots at Once With multiple eyes—Adobe’s prototype has 19—the light-field camera is even more perceptive. Each of its lenses is faced with a prism set at a unique angle, so it can take 19 pictures simultaneously, with each capturing a different part of the scene in focus. Each image uses a piece of the sensor, so a 100-megapixel camera will yield 19 5.2-megapixel shots.
Fill in the Blanks But the process doesn’t stop there. Adobe software can analyze the 19 captured photos and from them generate thousands of intermediate images so that each shot seamlessly morphs into those adjacent. Then images are layered, like thin sections, producing a three-dimensional simulation of the scene in which every piece of it is in focus.
Paint in Your Focus Because a light-field photograph is dynamic—virtually three-dimensional—focus can be selectively painted in with a “focus brush,” allowing the photographer to bring details from both foreground and background into focus—something that’s currently impossible in a single photo. Or future online photo sites could let viewers manipulate a photo’s focus as they choose.
(Excerpt from PopSci.com.)
As a former Focus Puller I find this very exciting, as the technology proposes to give the director so much more freedom in post. Ultimately, it will help to tell the story, and that is what camerawork should be all about. But also from a technical side, it appears that the age-old connection between aperture and depth-of-field ceases to exist. I can only begin to imagine the plethora of new creative uses this lens throws towards us camerapeople.
In stills photography, resolution has quickly increased from a mere 250.000 pixel to two-digit megapixels. The video world has been much more conservative. Until a few years back, there was only SD, which has about 1/4 megapixels. HD is just now starting to catch on, which delivers roughtly between 3/4 and under 2 megapixels. But already now, some camera producers are pushing forward with 2k and even higher resolutions. But my guess is that 4k will only the beginning.After having gotten used to DVD quality, old VHS films are almost painful to watch. Looks like the same will happen to HD in the not-too-far future…
For an camera operator, the biggest handicap with the modern cameras are their viewfinders, which simply do not show all of the resolution that camera records. The Red One for example, shows the operator only a fraction of the total resolution. Which means that the operator can never be sure in critical focus situations. Now that Adobe Lens would relieve us from one worry.Now, for the career Focus Puller this does pose some trouble. That title might just fade out, and revert to “1st AC”. But I would suggest to learn more about the new workflows around digital acquisition, and I am sure there will always be enough work in the camera dep´t.
Nab is the yearly major event for anything connected with video/media production. I´ll make some wild(ish) guesses as to what might delect my fellow camera(wo)men
It will be exciting to see how the big guys are going to react to the Red One camera. I would hope for an affordable 2k shoulder-mount camera, that supports higher frame rates, and has interchangeable lenses. Competitively priced against the Red. Sort of a Red light for ENG work.
Red is a master of hype, and this NAB looks like Red might just steal the show again. They have announced 3 big and 3 minor news. With only a little bit of foundation, I will do some wild guessing as to what they might be
Will be interesting to see when other battery technologies become viable.There will be some new solutions for the tapeless workflow in post production.I guess also the tendency is that the workload shifts from the set to the post production. Adobe is just one of many players here, but they have come up with a very exciting concept around focus/depth of field:
Gems from the Web:
I am having some crazy weeks, with just too much work. Which, of course, is a luxury problem. But no time for proper posts here. Today I did get to have a proper(ish) look at a Red One, and it is much bigger and heavier than it looks on the pictures. Very cool menu options. Unusual design. Definitely worth the money. But needs good lenses.
And here a little clip for the week-end. Test your awareness:
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