- Posts: 9212
- Joined: Tue Sep 11, 2012 10:20 am
- Location: Poland
Denis Kazlowski wrote:I agree somewhat, but let me put it into context for you. Panasonic D5/Varicam and DVCPro 25/100 / HDCAM and HDCAM-SR codecs at 1920x1080 (almost 2K) existed during that time, Digibeta, 8-bit and 10-bit raw quicktime in interlaced and progressive were also available, so was 4:4:4, as was Motion JPEG, JPEG2000, and DNG - It's just the disks were so slow, SSD's were not available so most of it went onto tape. - GPU assisted stuff was only in it's beginning.
In 2006 only the D5 is uncompressed, everything else you've mentioned is either compressed or a compression standard so the context is cloudy. Raw interlaced 8-bit Quicktime who, what shot this? If there was ever an uncompressed HD tape recorder I never saw one . The best HDCam SR recorder could do what amounts to 10 bit Prores 4:4:4 and it cost 100 grand. The topper is that all of this is at best rec709 encoded 10 bit 4:4:4. There's no wide gamut/HDR tape format and nobody is recording raw.
So when Sony actually got around to try and get raw off the f65 in 2013 Red stepped in with the lawsuit. Sony essentially bullied Red back by threatening to counter sue over Red's use of Sony's IP and ultimately it was settled. So now Red has Apple, Atmos, Sony, BM, and Panasonic lined up like little duckies.
I'm not any happier about it than you are. This all hurts the consumer but you can see why BM and Apple are so cagey with their competing not "raw" formats. This IP of Red's may prove more valuable than their camera business.
Maybe you can prove that somebody else did it first like Silicon Imaging, or maybe the Reel Stream Andromeda. All you're going to do though is prove that it's somebody else's IP, doesn't make it yours.
Good Luck