I must be in an alternative universe, I just can’t believe what I see and hear.<\/p>\n
11\u00a0years ago I shot a movie digitally, it was shot in HD in true RGB and uncompressed. Each of the 3 sensors had 1920 * 4320 <\/span>photo-sites that created 3 * 1920 * 1080 images. It was 10 bit log and 4:4:4\u00a0 generating 447.45 GB per hour.<\/span><\/p>\n Now Netflix are specifying that they will only accept “4K” cameras but they’re not 4K, \u00a0they’re 2K * 2K in\u00a0green and 2K * 1K in R&B<\/span>\u00a0they’re barely 3K and that gives you with Redcode 5:1 a grand total of 189.10GB per hour. It’s not a problem of Redcode, it’s just it was easy for me to get those figures, all the\u00a0<\/span>cameras they accept produce similar data rates.<\/span><\/p>\n Now I accept that technology moves on and compression get better but 4 times the resolution and less than half the data! no chance.<\/p>\n The issue is that people making decisions don’t understand what they’re deciding and are swayed by marketing.<\/p>\n The lunatics are\u00a0truly running the asylum.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":" I must be in an alternative universe, I just can’t believe what I see and hear. 11\u00a0years ago I shot a movie digitally, it was shot in HD in true RGB and uncompressed. Each of the 3 sensors had 1920 * 4320 photo-sites that created 3 * 1920 * 1080 images. It was 10 bit … Continue reading “WTF! I’m in an alternative Universe”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[6],"tags":[],"class_list":["post-107","post","type-post","status-publish","format-standard","hentry","category-rant"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8PwMD-1J","_links":{"self":[{"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/posts\/107","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/comments?post=107"}],"version-history":[{"count":0,"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/posts\/107\/revisions"}],"wp:attachment":[{"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/media?parent=107"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/categories?post=107"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/tags?post=107"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}