- 第 1 页 -
首批二十五台 RED ONE 超级摄影机出货
http://cn.engadget.com/2007/09/03/first-25-red-one-cameras-ship/首批二十五台 RED ONE 超级摄影机出货Posted Sep 3rd 2007 4:14AM by Andy Yang
分类: 数码相机
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本来一直在真实和虚幻之间游移不定的 RED ONE 11.4mp / 60p 超级摄影机今天终于上市了，提供数字摄影师一个极轻便的超高画质摄影机选择。首批的 25 台（和相关的镜头、配件）已经出货 -- 「出货」可能不是个正确的用法，因为买主都是直接飞到 RED 在南加州的总部直接提货的 -- 给老早就花大钱下订的买主，而我们也就只有在旁边流口水的份啦。
口水流归流，我可是一点也不想知道这一台要卖多少...
分类: 数码相机
口水流归流，我可是一点也不想知道这一台要卖多少...
RED Day: The Launch in LA
Posted on Sep 01, 2007 by mseymour7
RED has begun shipping their RED ONE camera After many people initially questioned the project and some even called it a sham, the RED team today proudly delivered their first 25 cameras. We were there to pick up our camera number 22. In characteristic RED style it was informative, crazy and a really great place to be.
![]()
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One of the first cameras with HDforIndies Mike Curtis in the background
The RED ONE camera is one of the most hotly anticipated cameras to hit the production community in years. We will leave it to others to blog a blow by blow of what happened today. Instead we offer our insights on what this new camera may mean and some of the interesting aspects that were revealed as 20 or so die hard early adopters finally got their hands on truly affordable 4K digital capture.
Tomorrow these cameras head out into the world to start production. Jim Jannard is independently filming car racing out of town and shoots are scheduled from NY at sunset to the first of our own test shoots in LA. The in preparation to our online RED training which starts in October at fxphd. These will be the first independent shoots - already there are 4 crews working with beta versions of the Camera. The most famous of shoot is Academy Award winning Director, Steven Soderbergh who has been filming (without fault) for over 6 weeks in Spain with a set of the pre-release cameras.
While today we were unable to really shake down the cameras, it was a very informative day for understanding the issues and some of the key workflow aspects of the RED vision. Plus as you will see below we certainly had some fun!
![]()
Configurations
![]()
![]()
One of the most interesting things is just how flexible a camera the final shipping model is for a DOP. The camera can be scaled up and down in terms of cages, grips, mounts and options. Unlike many cameras and nearly all pro-consumer cameras, the base camera is just the central housing and actually completely unusable. Not that it is technically wrong in anyway, but the base camera body does not even have a power supply, yet alone any monitoring or accessories.
This meant that a significant amount of time was spent with people building up and trying various modules and options for the cameras. Hiring (renting) the camera will be interesting as there really is no basic camera and you must have some options just to make it work. Of course DOPs love this amount of flexibility but as everything is modular it does take some getting used to and a good grip will be absolutely vital on any major project.
![]()
![]()
![]()
the basic camera without rails and attachments
It seemed like most of the options for the configuration of the camera are fully shipping. Tthere are some items such as the carbon fibre versions of the rails that were not, but we were pleasantly surprised at the depth of add-ons available - right now to camera focus hooks and spare cables.
One great piece of news is that RED is shipping lenses. Unlike the information that had been on the web site, many people including ourselves walked out with new and extremely competitively priced RED lens from today's launch.
Not all lens are shipping but several keys lens such as the short zoom 18- 50mm and the 300mm are released.
As of today, not all the features of the RED One are enabled. RED and Jim Jinnard in particular was very open about this. The company will be enabling a host of features over the coming weeks, but the camera is filming and outputting beautiful images in 4K. They decided to let early adopters get their cameras now - fully disclosing the limitations of 1.0. In fact Jim offered $5000 refund of their $1000 deposit and the full refund of anyone's plane ticket if after seeing the camera - someone decided to not proceed. No one to our knowledge took him up on the offer.
What isn't working? It has (as of today) no audio recording, no high speed or timelapse options, limited live outputs and no 2K windowing. Serious limitations to be sure, but these will all be software enabled in the coming weeks. It also only currently records to Compact flash the other recording options are also being rolled out in coming weeks, the crowd today did not seem upset by this. The transparency of the company and its willingness to work with its customers seems to have more than won over its new and potential customers. People just "want" this camera to work and they are willing to work around problems just to be a part of the revolution - just to be a part of something that seems special.
What is working? The camera shoots beautiful 4K images in 24/25/30 fps. It is very much a non-sound film camera. There is software to convert the files - but no full workflow yet (see below). The signal to noise ratio seems amazing. The cameras are producing very low noise images from the Standard 320 ASA to 1000 ASA, in full 4K.
The camera may not have quite as much dynamic range as the new F23 from Sony - but then it costs a damn sight less (around 1/10th) and it shoots twice the resolution. The RED ONE does have a very nice feel to it - the camera is robust, professional and rugged - and weights in a little heavier than was once hoped - but it is a very serious camera. The RED team did this in under 2 years with a handful of staff. By way of comparison, Sony has 160,000 employees.
Shooting
![]()
![]()
The camera has a set of working menus that allow for common things such as formating media, controlling zebras (patterns that indicate exposure), and alike. Clearly more is to come. But the point of interest to fxguide was the first clear understanding of timecode issues and meta data on shot material.
Timecode. On the camera as it stands one can provide an external timecode signal, but one really needs to understand the innovative way RED ONE handles timecode to fully understand what is happening. The camera is designed from the ground up to shoot off-speed and only to data so it has the luxury of significantly improving how it handles timecode. First you need to set a project timecode for the codee you want to edit in. For example, if we were filming a 24P film finish independent feature, we would set the project timecode master to be 24P and as such there will be a sensible 24 frame per sec timecode assumed. Next you can set the shots frame rate or time base- so for example I may choose to shoot at 100 fps.
Internally the camera actually has 2 timecode formats, both SMTPE tracks in the technical sense. The first is the RUN RECORD code - or EDGE CODE which starts a 1 hour on each piece of media . Put in a new compact flash and it would start at 1 hour and sequentially record unique to that media timecode... always assuming 24fps in the sense of how you will edit it.
The Second is TIME - TImecode. This looks at the internal real world time clock of the camera and starts at that frame-sync and then runs on with a unique timecode for each frame. It runs even if that means it loses touch with the real world since you're filming at 4 times real world time ( 100 fps is about 4 times 24fps), but at least EVERY frame has a unique timecode. It is this second TIME - timecode that looks at the instant of a record button press at EXTERNAL code (if you set the camera for external code) . This is fairly significant, and avoids so many of the problems and knots you can get in with a P2 camera or varispeed.
Post Workflow Implications
![]()
![]()
Filming outside RED HQ in the OC California
The second key piece of post understanding is the role of Meta data, and it takes some getting used to. If you photograph a mountain with a digital SLR, you know that you can save the jpeg OR the RAW file. If you save the RAW file you can select different white balances etc while doing the photoshop import.
The same principle (but extended) is not possible for digital cine. Settinga white balance on set only affects only the PREVIEW output. The actual images are stored in a RAW format and you can adjust the motion picture's white balance later. Other things such as the ASA are really only metadata, but this is where it gets complex. If I expose a normally lit scene, do a white balance and record the frame -- it is the sensor image data and metadata reflecting what I happened to be watching on set which is recorded. Consider this like an on-set white balance monitor LUT.
If I change my ASA to be 1000 instead of the 320 recommended setting, on set it of course appears really blown out. If I stopped there - I could dial back the 320 ASA in post and no harm done. In reality, the only reason I would wind up the ASA is because I wanted to actually see things in the dark areas in the shot. So naturally now I would CHANGE the exposure to make the image look sensible. In the case of doing so, however, I am literally changing how much light reaches the sensor and I can not dial that out in post. So ASA is metadata - it is more a tool to allow you to focus on set on capturing different lighting conditions such as low ligh -- unlike exposure, which will change the actual recorded sensor data. As a rule of thumb, colour temperature, etc are all just viewing or monitoring settings -- but exposure, focus , and lens focal length (on a zoom) are baked in.
It is important for colourists in particular to know this, In the correct post pipeline -- even if on set the crew saw sepia tone images, the editor cut sepia tone images and the client hated sepia tone images -- the unaffected files can be maintained and popped back in an instant.
This need to preserve the post pipeline will no doubt takes months if not years for some people to understand and implement in post-production. But with 750 RED camera destined for LA alone, there is going to be a huge demand for intelligent new post-pipelines in very short order. To this end, beta versions of Scratch, RED CINE and the RED Alert software were shown. These three packages along with Final Cut Studio all support the intelligent RED workflow. RED CINE and RED Alert are free license free packages given out with the cameras. As of today only Red Alert is released and it is the most simple of the bunch.
RED Alert will will allow you to open RED files, save them as quicktimes in a variety of sizes and export footage to traditional post products such as AVID, Flame or DaVinci. RED Alert is not complex to use but with only this simple tool available as of today, any major production will need to be very skilled in its data management, for at least for the next few weeks until Scratch (from Assimilate) and Red's own RED CINE are released.
In coming days we will feature stories on RED Alert and how to use it as we prepare training material for fxphd's comprehensive online RED training which starts in October. This training will include lens, production, post and workflow discussion and will allow members to get their hands on greenscreen and test RED footage filmed around the world.
Fun
As promised ... here are the unboxing pictures.. of camera #22.
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While most of the day was serious learning and discussion - we would be wrong not to thank the RED team for a great fun time. RED is actually a small team of only about 25 full time staff... it is Apple 1984 or Discreet circa 1996 and has a vibe of being rebellious and in the words of Jannard "we want to be disruptive." You have to love this company. One example: Jannard had some "Pelican" brand cases made for his own cameras with laser cut form. On the spur of the moment he generously decided to allow a few of us to buy these off him so we could easily ship our new cameras home. No sooner had a few people put their hands up to buy them - so to speak - than Jarred Land, one of the RED team, appears with a blow torch and asks if anyone wants to 'Brand' their roadcase !
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Special thanks to Emery Wells for Stills photography.
Posted on Sep 01, 2007 by mseymour7
RED has begun shipping their RED ONE camera After many people initially questioned the project and some even called it a sham, the RED team today proudly delivered their first 25 cameras. We were there to pick up our camera number 22. In characteristic RED style it was informative, crazy and a really great place to be.
One of the first cameras with HDforIndies Mike Curtis in the background
The RED ONE camera is one of the most hotly anticipated cameras to hit the production community in years. We will leave it to others to blog a blow by blow of what happened today. Instead we offer our insights on what this new camera may mean and some of the interesting aspects that were revealed as 20 or so die hard early adopters finally got their hands on truly affordable 4K digital capture.
Tomorrow these cameras head out into the world to start production. Jim Jannard is independently filming car racing out of town and shoots are scheduled from NY at sunset to the first of our own test shoots in LA. The in preparation to our online RED training which starts in October at fxphd. These will be the first independent shoots - already there are 4 crews working with beta versions of the Camera. The most famous of shoot is Academy Award winning Director, Steven Soderbergh who has been filming (without fault) for over 6 weeks in Spain with a set of the pre-release cameras.
While today we were unable to really shake down the cameras, it was a very informative day for understanding the issues and some of the key workflow aspects of the RED vision. Plus as you will see below we certainly had some fun!
Configurations
One of the most interesting things is just how flexible a camera the final shipping model is for a DOP. The camera can be scaled up and down in terms of cages, grips, mounts and options. Unlike many cameras and nearly all pro-consumer cameras, the base camera is just the central housing and actually completely unusable. Not that it is technically wrong in anyway, but the base camera body does not even have a power supply, yet alone any monitoring or accessories.
This meant that a significant amount of time was spent with people building up and trying various modules and options for the cameras. Hiring (renting) the camera will be interesting as there really is no basic camera and you must have some options just to make it work. Of course DOPs love this amount of flexibility but as everything is modular it does take some getting used to and a good grip will be absolutely vital on any major project.
the basic camera without rails and attachments
It seemed like most of the options for the configuration of the camera are fully shipping. Tthere are some items such as the carbon fibre versions of the rails that were not, but we were pleasantly surprised at the depth of add-ons available - right now to camera focus hooks and spare cables.
One great piece of news is that RED is shipping lenses. Unlike the information that had been on the web site, many people including ourselves walked out with new and extremely competitively priced RED lens from today's launch.
Not all lens are shipping but several keys lens such as the short zoom 18- 50mm and the 300mm are released.
As of today, not all the features of the RED One are enabled. RED and Jim Jinnard in particular was very open about this. The company will be enabling a host of features over the coming weeks, but the camera is filming and outputting beautiful images in 4K. They decided to let early adopters get their cameras now - fully disclosing the limitations of 1.0. In fact Jim offered $5000 refund of their $1000 deposit and the full refund of anyone's plane ticket if after seeing the camera - someone decided to not proceed. No one to our knowledge took him up on the offer.
What isn't working? It has (as of today) no audio recording, no high speed or timelapse options, limited live outputs and no 2K windowing. Serious limitations to be sure, but these will all be software enabled in the coming weeks. It also only currently records to Compact flash the other recording options are also being rolled out in coming weeks, the crowd today did not seem upset by this. The transparency of the company and its willingness to work with its customers seems to have more than won over its new and potential customers. People just "want" this camera to work and they are willing to work around problems just to be a part of the revolution - just to be a part of something that seems special.
What is working? The camera shoots beautiful 4K images in 24/25/30 fps. It is very much a non-sound film camera. There is software to convert the files - but no full workflow yet (see below). The signal to noise ratio seems amazing. The cameras are producing very low noise images from the Standard 320 ASA to 1000 ASA, in full 4K.
The camera may not have quite as much dynamic range as the new F23 from Sony - but then it costs a damn sight less (around 1/10th) and it shoots twice the resolution. The RED ONE does have a very nice feel to it - the camera is robust, professional and rugged - and weights in a little heavier than was once hoped - but it is a very serious camera. The RED team did this in under 2 years with a handful of staff. By way of comparison, Sony has 160,000 employees.
Shooting
The camera has a set of working menus that allow for common things such as formating media, controlling zebras (patterns that indicate exposure), and alike. Clearly more is to come. But the point of interest to fxguide was the first clear understanding of timecode issues and meta data on shot material.
Timecode. On the camera as it stands one can provide an external timecode signal, but one really needs to understand the innovative way RED ONE handles timecode to fully understand what is happening. The camera is designed from the ground up to shoot off-speed and only to data so it has the luxury of significantly improving how it handles timecode. First you need to set a project timecode for the codee you want to edit in. For example, if we were filming a 24P film finish independent feature, we would set the project timecode master to be 24P and as such there will be a sensible 24 frame per sec timecode assumed. Next you can set the shots frame rate or time base- so for example I may choose to shoot at 100 fps.
Internally the camera actually has 2 timecode formats, both SMTPE tracks in the technical sense. The first is the RUN RECORD code - or EDGE CODE which starts a 1 hour on each piece of media . Put in a new compact flash and it would start at 1 hour and sequentially record unique to that media timecode... always assuming 24fps in the sense of how you will edit it.
The Second is TIME - TImecode. This looks at the internal real world time clock of the camera and starts at that frame-sync and then runs on with a unique timecode for each frame. It runs even if that means it loses touch with the real world since you're filming at 4 times real world time ( 100 fps is about 4 times 24fps), but at least EVERY frame has a unique timecode. It is this second TIME - timecode that looks at the instant of a record button press at EXTERNAL code (if you set the camera for external code) . This is fairly significant, and avoids so many of the problems and knots you can get in with a P2 camera or varispeed.
Post Workflow Implications
Filming outside RED HQ in the OC California
The second key piece of post understanding is the role of Meta data, and it takes some getting used to. If you photograph a mountain with a digital SLR, you know that you can save the jpeg OR the RAW file. If you save the RAW file you can select different white balances etc while doing the photoshop import.
The same principle (but extended) is not possible for digital cine. Settinga white balance on set only affects only the PREVIEW output. The actual images are stored in a RAW format and you can adjust the motion picture's white balance later. Other things such as the ASA are really only metadata, but this is where it gets complex. If I expose a normally lit scene, do a white balance and record the frame -- it is the sensor image data and metadata reflecting what I happened to be watching on set which is recorded. Consider this like an on-set white balance monitor LUT.
If I change my ASA to be 1000 instead of the 320 recommended setting, on set it of course appears really blown out. If I stopped there - I could dial back the 320 ASA in post and no harm done. In reality, the only reason I would wind up the ASA is because I wanted to actually see things in the dark areas in the shot. So naturally now I would CHANGE the exposure to make the image look sensible. In the case of doing so, however, I am literally changing how much light reaches the sensor and I can not dial that out in post. So ASA is metadata - it is more a tool to allow you to focus on set on capturing different lighting conditions such as low ligh -- unlike exposure, which will change the actual recorded sensor data. As a rule of thumb, colour temperature, etc are all just viewing or monitoring settings -- but exposure, focus , and lens focal length (on a zoom) are baked in.
It is important for colourists in particular to know this, In the correct post pipeline -- even if on set the crew saw sepia tone images, the editor cut sepia tone images and the client hated sepia tone images -- the unaffected files can be maintained and popped back in an instant.
This need to preserve the post pipeline will no doubt takes months if not years for some people to understand and implement in post-production. But with 750 RED camera destined for LA alone, there is going to be a huge demand for intelligent new post-pipelines in very short order. To this end, beta versions of Scratch, RED CINE and the RED Alert software were shown. These three packages along with Final Cut Studio all support the intelligent RED workflow. RED CINE and RED Alert are free license free packages given out with the cameras. As of today only Red Alert is released and it is the most simple of the bunch.
RED Alert will will allow you to open RED files, save them as quicktimes in a variety of sizes and export footage to traditional post products such as AVID, Flame or DaVinci. RED Alert is not complex to use but with only this simple tool available as of today, any major production will need to be very skilled in its data management, for at least for the next few weeks until Scratch (from Assimilate) and Red's own RED CINE are released.
In coming days we will feature stories on RED Alert and how to use it as we prepare training material for fxphd's comprehensive online RED training which starts in October. This training will include lens, production, post and workflow discussion and will allow members to get their hands on greenscreen and test RED footage filmed around the world.
Fun
As promised ... here are the unboxing pictures.. of camera #22.
While most of the day was serious learning and discussion - we would be wrong not to thank the RED team for a great fun time. RED is actually a small team of only about 25 full time staff... it is Apple 1984 or Discreet circa 1996 and has a vibe of being rebellious and in the words of Jannard "we want to be disruptive." You have to love this company. One example: Jannard had some "Pelican" brand cases made for his own cameras with laser cut form. On the spur of the moment he generously decided to allow a few of us to buy these off him so we could easily ship our new cameras home. No sooner had a few people put their hands up to buy them - so to speak - than Jarred Land, one of the RED team, appears with a blow torch and asks if anyone wants to 'Brand' their roadcase !
Special thanks to Emery Wells for Stills photography.
Big RED ONE最大的看点来自于那枚1100万像素的Mysterium CMOS，24.4×13.7mm（APS-C画幅是22.5 x 15.0 mm）的尺寸显示这是一款16：9规格的感光元件，联想到不久前有关索尼新型CMOS的报道，很显然07年高端影像设备感光元件市场将是CMOS的天下。
Big RED ONE采用由Red Digital Cinema公司自行研发的Mysterium CMOS传感器（24.4×13.7mm），其具有1140万像素、60fps（相当于2540p，远远高于1080P）的惊人动态拍摄能力（其他拍摄格式还有：4K（最高60fps）、2K（最高120fps）、1080p（最高60fps）、1080i（最高59.94fps）、720p（最高120fps）），并支持RAW和JPEG静态拍摄。在超高画质下，Big RED ONE对存储空间的要求也是非常惊人的，原厂甚至只提供32GB-128GB的闪存卡以及40GB-160GB的高速硬盘作为存储介质。
RED ONE专业支架（基本型）：9300元
RED ONE专业支架（高级型）：20600元
RED ONE外加电池（包括两支140Wh电池及充电器）：12300元
RED ONE EVF取景器：22100元
RED ONE LCD取景器（5.6英寸）：12700元
RED ONE 镜头适配器：26000元
RED ONE 佳能卡口适配器（可使用佳能镜头）：3700元
RED ONE 尼康卡口适配器（可使用尼康镜头）：3700元
各种各样的高级存储介质，甚至包括RAID形式的160GB专业硬盘，要价33700元
此外RED ONE自家的两支超级镜头——RED 300MM f2.8 LENS（要价37000元）和RED 18-85MM f2.8 ZOOM LENS（要价71000元）。现在，算算全套RED ONE要多少银子吧！好家伙，加上两支超级镜头已经超过40万了。你还别嫌贵！如果拿它和拍电影用的大型摄像机相比，这个价格还真有些小巫见大巫了。
分辩率继续飚升：超高清7680×4320
在阿姆斯特丹的IBC 2006上，red.com曾经展示了4096×2160分辩率的高清显示技术，但索尼很快又带来了7680×4320。
当今1080p高清格式的分辩率仅为1920×1080，不过200多万像素，4096×2160则提高到880多万，“超高清(UHD)”的7680×4320更是飚升到惊人的3310多万，相当于1080p的近17倍。
在一些日本公司的支持下，索尼就展示了这样一款超高清的投影仪，同时搭配300英寸超大屏幕和22.2声道音效系统。
印象还不够深刻？再来看几个数字：18分钟未经压缩的超高清视频大小为3.5TB，平均每分钟194GB——很多用户的硬盘总容量都还没有200GB。
引用:
--------------------------------------------------------------------------------
原文由 开荒牛 发表
好莱坞（大部分？）的电影现在都数码化了，即使前期用胶片拍摄后还是用专业设备转换到数码格式（2K：2048×1080），然后进行矫色合成等等后期处理，最后把文件插值到4K（4096×2160）后制造胶片母带。有些片子如蜘蛛侠3用4K做后期处理，不需要最后插值。
既然中间已经用数码转换，为何不能直接用数码媒体放映电影呢？
Sony最近开始推广4K投影仪，最新上映的蜘蛛侠3就有数码版，但国内好像大部分还是2K投影仪。据去现场看过4K投影仪的报道4K完全超越135胶片电影效果。
2K和4K的摄像机也有了，胶片的最后一个堡垒：电影前期拍摄的倒下也就是两三年的时间而已。新一代系统如RED推出的4K摄像机身才17000美元，好莱坞很快就会全面放弃胶片。
Big RED ONE采用由Red Digital Cinema公司自行研发的Mysterium CMOS传感器（24.4×13.7mm），其具有1140万像素、60fps（相当于2540p，远远高于1080P）的惊人动态拍摄能力（其他拍摄格式还有：4K（最高60fps）、2K（最高120fps）、1080p（最高60fps）、1080i（最高59.94fps）、720p（最高120fps）），并支持RAW和JPEG静态拍摄。在超高画质下，Big RED ONE对存储空间的要求也是非常惊人的，原厂甚至只提供32GB-128GB的闪存卡以及40GB-160GB的高速硬盘作为存储介质。
RED ONE专业支架（基本型）：9300元
RED ONE专业支架（高级型）：20600元
RED ONE外加电池（包括两支140Wh电池及充电器）：12300元
RED ONE EVF取景器：22100元
RED ONE LCD取景器（5.6英寸）：12700元
RED ONE 镜头适配器：26000元
RED ONE 佳能卡口适配器（可使用佳能镜头）：3700元
RED ONE 尼康卡口适配器（可使用尼康镜头）：3700元
各种各样的高级存储介质，甚至包括RAID形式的160GB专业硬盘，要价33700元
此外RED ONE自家的两支超级镜头——RED 300MM f2.8 LENS（要价37000元）和RED 18-85MM f2.8 ZOOM LENS（要价71000元）。现在，算算全套RED ONE要多少银子吧！好家伙，加上两支超级镜头已经超过40万了。你还别嫌贵！如果拿它和拍电影用的大型摄像机相比，这个价格还真有些小巫见大巫了。
分辩率继续飚升：超高清7680×4320
在阿姆斯特丹的IBC 2006上，red.com曾经展示了4096×2160分辩率的高清显示技术，但索尼很快又带来了7680×4320。
当今1080p高清格式的分辩率仅为1920×1080，不过200多万像素，4096×2160则提高到880多万，“超高清(UHD)”的7680×4320更是飚升到惊人的3310多万，相当于1080p的近17倍。
在一些日本公司的支持下，索尼就展示了这样一款超高清的投影仪，同时搭配300英寸超大屏幕和22.2声道音效系统。
印象还不够深刻？再来看几个数字：18分钟未经压缩的超高清视频大小为3.5TB，平均每分钟194GB——很多用户的硬盘总容量都还没有200GB。
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原文由 开荒牛 发表
好莱坞（大部分？）的电影现在都数码化了，即使前期用胶片拍摄后还是用专业设备转换到数码格式（2K：2048×1080），然后进行矫色合成等等后期处理，最后把文件插值到4K（4096×2160）后制造胶片母带。有些片子如蜘蛛侠3用4K做后期处理，不需要最后插值。
既然中间已经用数码转换，为何不能直接用数码媒体放映电影呢？
Sony最近开始推广4K投影仪，最新上映的蜘蛛侠3就有数码版，但国内好像大部分还是2K投影仪。据去现场看过4K投影仪的报道4K完全超越135胶片电影效果。
2K和4K的摄像机也有了，胶片的最后一个堡垒：电影前期拍摄的倒下也就是两三年的时间而已。新一代系统如RED推出的4K摄像机身才17000美元，好莱坞很快就会全面放弃胶片。