Bigger. Better. Faster. Smoother. That’s really all you need to know.
And now that you have a blog soundtrack to set the tone, I’m going to spit some tech-babble on the mic:
4K. UltraHD. 3840×2160. VP9!!!!!
Here at YouTube Nation, these are all terms that can simultaneously elicit profound enthusiasm or a glazed donut glance of ‘what geekery are you ranting about now, Peter?’
And if I follow it up with ‘VP9 is the newest biggest deal ever!’ – power naps might spontaneously commence literally in the middle of our daily Production meeting. So, with great personal effort, I will push most post nerdery to the end of this blog entry and get on with the simple.
obligatory resolution comparison chart
Being the first daily 4K show on YouTube is awesome. It’s like getting to say ‘first!’ in the comments of your favorite band’s new music video for all to see. Joking aside, it means we get to bring you better than broadcast quality YouTube content everyday. And with VP9 encoding, you can stream four times better than broadcast HD straight to your laptop. The picture really pops!
Creatively, it means we can invite you into our studio to hang out with us and all of our great YouTuber guests in amazing detail. Grace in 4K. Mystery Guitar Man in UltraHD. Strawburry17 in 2160p! Get to know all the YouTubers you know and love like you’ve never seen them before 🙂
And it goes without saying it takes some super smart technology companies to make this happen. YouTube’s platform enables bigger, better, faster and smoother playback of your favorite shows. We use Red Scarlet cameras to capture the 4K picture, Adobe Creative Cloud to cut, composite and color grade the final show and Silverdraft Demon servers to encode our final 4K file for uploading to YouTube.
Alas, I’ve digressed; you knew I couldn’t contain my post nerdery forever 🙂 Anyone interested in diving deeper into the 4K production culture, check out the links below.
Just posted by Terrence Curren of Alphadogs fame to the FCP-L:
>From the Color list:
<< Hi there,
I was at the FCPUG Supermeet in Amsterdam and the first presentation was a
working
new Version of Color featuring R3D support. You can edit your footage in FCS
with the proxy
files created by the camera – send to Color and Color will access the R3D
files. First light will
be done in a new advanced tab in the primary in room!
I know that there are already screenshots about the new features floating
around.
But this was a working version!
No infos about release date.
Cheers,
Holger
>>
Simultaneously, Mike Curtis is reporting similar news over at pro video coalition:
Apple Color support – same way last year there was a demo of Redcode import into FCP, they are demonstrating native R3D support in Color. You can work with up to 2K resolution from 4K footage (only extracting the 2K layer from the wavelet). You can then work with that footage at 2K, 1080, 720, 480, whatever res you want that is below the 2K source extraction. But YES, you can bring your 4K Redcode RAW files into the future version of Apple’s Color and work with the full frame, but only at up to 2K deliverable. You can also access the source RAW metadata, just like on camera and in Red Alert/Redcine, to adjust Saturation, Exposure, Tint, Black Level, Exposure, RGB gains, etc. (No Brightness (gamma really) or Contrast (S-curve really), but you can do those with Color’s tools). Merely a technology demo, no ETA on ship date from Apple – so I’d GUESS in next major release, which could be what – NAB next year? Dunno, my guess, not based on hard data.
Red One Redcode RGB mode is still under development – read that two ways if you will – pessimistic – “darn, still not done/shipping!” or optimist – “GOOD – they are still working on it, it IS coming.”
If you’ve got links to screenshots please post, my hasty google searches have proved fruitless thus far…
proactively • ready to grade some R3D right now • peter
pro • active • ly 
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