Comments on: HDCAM SR & 4k Production

By: Jack

Jack — Fri, 16 Jan 2009 16:07:37 +0000

Sorry about that… Updated the link.

By: Vetrop

Vetrop — Fri, 16 Jan 2009 15:40:30 +0000

Where is the schematic of the workflow?
Best regards
Franck

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By: Lars

Lars — Tue, 10 Oct 2006 11:48:16 +0000

Since HDCAM SR offers a dual HD SDI option, recording 4:4:4 RGB video with an all but invisible compression, it is an option to use it instead of 2k. The resolution is quite similar (1,85:1 – 2048×1107 vs. 16:9 1920×1080) – and it is easier to handle. If the colorist knows what they’re doing this is quite attractive (and cost-effective) for independent film makers. It is done like that at some European post houses.
But of course, colour space is an issue.

By: James Crows

James Crows — Tue, 11 Apr 2006 17:17:49 +0000

It’s possible that the SR format may move beyond its current HD limitations in a few years to a format that actually records somewhere between 2K and 4K; The current SR edit decks operate at 440Mb/s data rate, the portable SRW1 recorder used on the Panavision Genesis operates in 440Mb/s mode or 880Mb/s mode, the 880Mb/s mode currently has limited use and its incompatibly with the edit decks further limits use. However it gives the tape format the data rate for a final upgrade path and the move to >2K could be logical with the recent Sony 4K SRX projectors becoming available.

By: Jack

Jack — Tue, 09 Aug 2005 08:28:05 +0000

I would agree that this is somewhat of a limitation. In defence of this workflow though, there are productions shot on film where the DOP will use a gate to deliberately prevent re-racking later on. For those productions, this workflow would be suitable. It’s also feasible that re-racking the shots could be done with the 4k images during the online/conform. My main gripe is that it seems like the time savings are not that apparent, and that, by extension, it’s difficult to see what the potential cost savings might be. I’d really like to see some hard figures on this, from an actual production.

By: Justin Beaudin

Justin Beaudin — Tue, 09 Aug 2005 01:32:51 +0000

Harding and Bone discuss matting the film run through the telecine or datacine to greatly reduce the size of the 2K file, also as a method to show that HDCAM SR workflow could handle the reduced amount of data. Unfortunalty while the final product is often displayed in the suggested format, production equipment often finds it’s way into the shot which could alter where the DP would liek to pan or crop the image. If you only scan in the cropped or matted image you are locked into a format that you may regret in editing process if not the post prodcution process. Most colorist and editors would agree that the full fram needs to be scanned in.

By: Kevin Mullican

Kevin Mullican — Thu, 21 Jul 2005 20:49:01 +0000

I can foresee a large hole in this workflow in that the colorspace for SR and the colorspace for scanning are radically different, making a CDL all but useless. This problem is further exacerbated by the fact that color grading is a high-precision activity, and telecine and scanning are not.