The real trade off is that you’ll need a powerful workstation to play these compressed RAW footages without dropping frames as that will be taxing heavily the processor and GPU of any computer. I recommend at least a workstation like the iMac Pro with 14 or 18-core and Vega 64X running FCPX or Resolve as those programs are much better optimized and efficient than Premiere for Mac.
@@ResizeFilms yes it's nice to be able to display the resolution you shot in, but not many people have an 8K monitor to go with that very expensive Mac you're talking about. There's a lot of misconceptions about editing redcode and one of those is that you have to have a super computer, that's simply not true, especially when most people edit from proxies anyway, here you don't have to, just drop the playback resolution and you're good to go.
I had a project with a mixture of 6k Red footage and h264 and h265 4k, and the Red could be played back very smoothly at 1/2 or 1/4 resolution. Whereas the H265 and H264 was always sluggish - usually okay by 1/8, but not always. RedCode is beautifully smooth for editing compared to other raw formats.
I spent years watching RUclips videos related to cameras and shooting video and I somehow did not come across a video that explains RED R3D file sizes as well as you guys did in this video.
Well done Carl! But I would like to know that the comparison between BMPCC 4K, or 6K raw, or, ProRes raw with Atomos, or Blackmagic raw with new Blackmagic Video Assist and RED 8K. Could do this too soon?
Protest raw and blackmagic raw will depend on the camera being used. But Blackmagic raw 8:1 in 6k on the BMPCC 6k is 833mbps All the information is taken from camera and formats app on iOS if anyone wants to look up the camera/format of their choice. Carl
Great video! How did you calculate the number of minutes a 960 GB card can get you for the RED files? For example, at 8:1, you say it is 1.3 gbps. 960/1.3 =~ 738 seconds/60 seconds = 12.3 minutes. What am I doing wrong in my calculation that is leading to this difference?
I would say 8K Doesn't Mean better quality, the physical size of Arri LF 4,5k is little larger compared to Red 8k sensor so Arri has less but bigger pixels and that equals to better low-light performance, we know that the colour science behind that sensor is something no one has managed to achieve in other companies. Let's not forget that the cinema standard is Arri cameras and Reds are more commercial style.Correct me if i'm wrong.
high quality 4k or low quality 8k?...I never understood Red's thinking here. I would have used the Monstro more if it just gave me a downsampled 4k RAW file of the entire full-frame chip?
You can’t really get downsampled raw in camera, the two don’t mix. But that is exactly the idea with the monstro. Shoot 8K raw for great downsampling to 4K. Carl
@@ProAVTV I get the theory. Editors and Producers flip their shit when they hear 8k. At least for the projects i'm shooting. Full-Frame 4k RAW, that's what I would request.
Well that’s exactly why I wrote this video, to try and show editors and producers that 8K raw can actually be more manageable than 4K raw in some situations. Carl
I have, its a fascinating presentation. I do wish he had used the newer RED sensors though, as I believe he used the Dragon 6K RED sensor. The Monstro 8K would have been a more relevant choice for that demo. Some incredible insights into spacial resolution and debayering implications. Its a very different subject from what i'm discussing in this video though, and of course far more in depth than I would ever really be able to go. This isn't a video where i'm trying to convince people 8K capture is the only way forward. More that on the RED cameras, you should probably be using the full 8K where possible, and that that doesn't have to come along with scary data rates that will cripple the logistics of your production. Carl
Anybody who shoots video should be subbed to you guys.
Thanks! We agree 😉
Carl
I dont shoot video and even Im subbed to these guys
Wow. Hell of a breakdown!
The real trade off is that you’ll need a powerful workstation to play these compressed RAW footages without dropping frames as that will be taxing heavily the processor and GPU of any computer.
I recommend at least a workstation like the iMac Pro with 14 or 18-core and Vega 64X running FCPX or Resolve as those programs are much better optimized and efficient than Premiere for Mac.
Not true unless you need playback at full resolution, my laptop plays 6k at 1/8th resolution which I find perfectly fine for editing.
Rob Parkin we are talking about full resolution playback, able to work with all details in the monitor. Greetings.
@@ResizeFilms yes it's nice to be able to display the resolution you shot in, but not many people have an 8K monitor to go with that very expensive Mac you're talking about. There's a lot of misconceptions about editing redcode and one of those is that you have to have a super computer, that's simply not true, especially when most people edit from proxies anyway, here you don't have to, just drop the playback resolution and you're good to go.
I had a project with a mixture of 6k Red footage and h264 and h265 4k, and the Red could be played back very smoothly at 1/2 or 1/4 resolution. Whereas the H265 and H264 was always sluggish - usually okay by 1/8, but not always. RedCode is beautifully smooth for editing compared to other raw formats.
I spent years watching RUclips videos related to cameras and shooting video and I somehow did not come across a video that explains RED R3D file sizes as well as you guys did in this video.
Glad it helped! Thanks for watching
Carl
Great. Thanks Carl
I'm confused where the 5Gbps data rate on the red is from, the REDMAGS top out at 2Gbps @ 8k 5:1?
👏 bravo 👏 great comparison
Fantastic video.
Thanks for watching!
Carl
Well done Carl! But I would like to know that the comparison between BMPCC 4K, or 6K raw, or, ProRes raw with Atomos, or Blackmagic raw with new Blackmagic Video Assist and RED 8K. Could do this too soon?
Protest raw and blackmagic raw will depend on the camera being used. But Blackmagic raw 8:1 in 6k on the BMPCC 6k is 833mbps
All the information is taken from camera and formats app on iOS if anyone wants to look up the camera/format of their choice.
Carl
Great video! How did you calculate the number of minutes a 960 GB card can get you for the RED files? For example, at 8:1, you say it is 1.3 gbps. 960/1.3 =~ 738 seconds/60 seconds = 12.3 minutes. What am I doing wrong in my calculation that is leading to this difference?
Where did you get your ProAV name plates from? The ones you put onto your cameras?
How to you think .r3d would fair if it was used on a Home Video format?
Is this a full readout, or mostly a crop, meaning we crop into mft territory? What kind of Computer would someone need to shuffle through these files.
How many megapixels is 8K?
@@dzsemx 33,2 megapixels.
BRAW conspicuously missing. I have a hunch it would make the comparison a little less dramatic.
There are blackmagic stats on our blog post: www.proav.co.uk/videos/8k-red-r3d/
Carl
😍😍😍😍
I want that Ranger Helium......
It's very nice
Carl
i shoot 6k raw 5;1. i use a 480 gig for a full day shoot
I would say 8K Doesn't Mean better quality, the physical size of Arri LF 4,5k is little larger compared to Red 8k sensor so Arri has less but bigger pixels and that equals to better low-light performance, we know that the colour science behind that sensor is something no one has managed to achieve in other companies.
Let's not forget that the cinema standard is Arri cameras and Reds are more commercial style.Correct me if i'm wrong.
Karen Gkiounasian you’re wrong.
Do they know he is talking to muggles?
No BRAW hey :/
high quality 4k or low quality 8k?...I never understood Red's thinking here. I would have used the Monstro more if it just gave me a downsampled 4k RAW file of the entire full-frame chip?
You can’t really get downsampled raw in camera, the two don’t mix. But that is exactly the idea with the monstro. Shoot 8K raw for great downsampling to 4K.
Carl
@@ProAVTV I get the theory. Editors and Producers flip their shit when they hear 8k. At least for the projects i'm shooting. Full-Frame 4k RAW, that's what I would request.
Well that’s exactly why I wrote this video, to try and show editors and producers that 8K raw can actually be more manageable than 4K raw in some situations.
Carl
@filmnick You can Edit the same way in 22:1 as 2:1. Only the noise is higher.
@filmnick i have a Gemini the last 3 years and 90% i shot on 15:1 for TV and aocial Media productions.
Anyone seen Steve Yedlins Resolution Demo?
I have, its a fascinating presentation.
I do wish he had used the newer RED sensors though, as I believe he used the Dragon 6K RED sensor. The Monstro 8K would have been a more relevant choice for that demo. Some incredible insights into spacial resolution and debayering implications.
Its a very different subject from what i'm discussing in this video though, and of course far more in depth than I would ever really be able to go.
This isn't a video where i'm trying to convince people 8K capture is the only way forward. More that on the RED cameras, you should probably be using the full 8K where possible, and that that doesn't have to come along with scary data rates that will cripple the logistics of your production.
Carl
lmao, red users shooting at 5Gbps while Im shooting 0,05 Gbps on my alpha
nobody is shooting 5gbps, except maybe alexa 65
@@fede9520 did you even watch the video mate
24mbps on Canon C100. Eat it.
@@hav6301 yes, even on the highest level of production no one Is using 2:1 8k raw (5gbps) it says so in the video aswell
@@fede9520 I have. Anyways I meant it as a joke
Great. Thanks Carl
No problem, thanks for watching!
Carl