FIELD OF VIEW . SERVICES
Driven by the hunger for stunning visuals combined with the use of cutting-edge technology and the passion for the craft of filmmaking and storytelling FIELD OF VIEW provides a comprehensive range of media services for various genres and platforms.
FIELD OF VIEW is predominantly working with the revolutionary 4k digital film camera RED ONE MX and since 2011 with the industry leading RED EPIC X. The EPIC has an amazing 5K Mysterium-X™ sensor that can capture up to 120 frames per second, each frame at full 14MP resolution! (go to www.red.com for further details)
Not only did we specialize in red production but also in red post production. With our RED cameras virtually any delivery format is possible, no matter if a client wants to see his/her film in a IMAX movie theater or on a mobile device.
The very latest in hard- and software allows us to edit and grade red raw 4k material natively and in realtime without any transcoding, maintaining the full quality, resolution and depth of every single frame throughout the entire post production pipeline.
Our TOOLS are based on a state-of-the-art data centric workflow that allows a most efficient post process. Striving for excellent quality, speed and flexibility at a reasonable price - these are the standards we continuously aim for while making your life as a client easier.
FIELD OF VIEW . PROJECT PIPELINE
- TYPICAL PROJECT PIPELINE
BACKGROUND INFO . RED
- COMPARISON: PHYSICAL DIMENSIONS OF 35mm IMAGE CAPTURE DEVICES
the red one (TM) is a digital super-35mm film camera that records raw images with a resolution of up to 4520 x 2540 pixels.
Therefore you get the same shallow depth-of-field and selective focus that used to be found only on celluloid film cameras.
So how does digital 4k compare to regular 35mm filmstock? Once it is exposed and developed, most 35mm negative film is scanned at 2k resolution for digital post production. Generally only high end vfx work is scanned at 4k that equals not twice but four times the resolution of 2k.
Not only is red footage instantly available for post production after its recording - it is also technically possible to preserve its native ultra-high-def resolution and colordepth from start to finish.
BACKGROUND INFO . RESOLUTION
- COMPARISON: FORMAT RESOLUTIONS (FRAME ASPECT RATIO 16:9 / 1,77)