RED resolution and DSLR performance using the Adobe Mercury Engine
I recently presented at the SF Cutters user group 10th anniversary, and shared a few new tidbits about the Adobe Mercury Engine.
First off, Mercury has higher resolution limits than the current release of Premiere Pro CS4. Right now, Premiere can create timelines up to 4096×4096 resolution. This is great for the current RED cameras, but with 4.5k Mysterium-X sensors now being retrofitted in the RED ONE, it’s not enough for the future. In the Adobe Mercury Engine, the maximum timeline resolution is 10240 pixels by 8192 pixels, more than enough for any mastering resolution we’ll see in the near future. The maximum resolution for clips dropped in any timeline will be limited to 256 megapixels in any direction. So, for example, footage from a 32000 by 8000 pixel sensor could be imported and dropped onto a timeline. This is higher than the resolution announced by RED in the 28k MONSTRO sensor, so RED users shouldn’t hit any resolution limits anytime soon.
As some of you may have noticed, I’ve been busy with a second blog that focuses on DSLR workflows, particularly with the new Canon Rebel T2i. I just picked up one of these cameras, and I’m having a LOT of fun with it. It’s giving me the opportunity to gear up at a reasonable price. Check out more info at www.rebelshooters.com.
Working with Mercury has already given me an advantage over other DSLR users, since Mercury has preset timelines for Canon DSLRS, and can work natively with the footage, with no transcoding or re-rendering prior to beginning the editing process. It’s still early to provide exact performance numbers, but I can very quickly pull clips right off the SD card, drop them on a timeline, and do a one-pass color grade with a 3-way color corrector (or my new favorite tool, the RGB Curves effect,) without rendering a single frame. This has worked wonderfully for quick camera tests. Output is also super-fast, since the GPU accelerated effects don’t impact the rendering process.