According to Anandtech the 2880 x 1800 Pixel HiDPI Display of the new MacBook Pro Retina has to deal with so much pixels, the GPU cannot deal with that amount of information anymore. This results in slow performance and a jumpy interface (scrolling and zooming is very slow). Previous models of the MacBook Pro could display between 46-60 frames per second, while the MacBook Pro Retina is only capable of displaying 18-24fps. Mac OSX 10.8 Mountain Lion should improve this a little - but still under 30fps. According to Anand, the solution will be the upcoming Haswell and Broadwell chipsets from Intel, that will be released in 2013.
To quantify exactly what I was seeing I measured frame rate while scrolling as quickly as possible through my Facebook news feed in Safari on the rMBP as well as my 2011 15-inch High Res MacBook Pro. While last year’s MBP delivered anywhere from 46 - 60 fps during this test, the rMBP hovered around 20 fps (18 - 24 fps was the typical range). Remember at 2880 x 1800 there are simply more pixels to push and more work to be done by both the CPU and the GPU. It’s even worse in those applications that have higher quality assets: the CPU now has to decode images at 4x the resolution of what it’s used to. Future CPUs will take this added workload into account, but it’ll take time to get there.
For early adopters and for posers, the new MacBook Pro Retina might be a fit. For serious people using their computers to actually get work done, it might be better to get a MacBook Pro from the previous Generation, since the price drops are significant: the Apple MacBook Air MC968LL/A 11.6-Inch currently sells for $829 new (refurbished from $789), the Apple MacBook Pro MC700LL/A 13.3-Inch sells for $1050 new ($900 refurbished).
The Apple MacBook Pro MC975LL/A 15.4-Inch Laptop with Retina Display (NEWEST VERSION) starts at $2,089.99.
Magic Lantern Unified looks promising: High Dynamic Range VIDEO for Canon cameras:
============== UPDATE ================
available for download now!
Demonstration of the new and free High Dynamic Range VIDEO feature for control over ultra contrast situations.
Discussion, workflow, RAW footage, FAQ:
Magic Lantern is a custom firmware add-on for Canon dSLR cameras. It is not a hack, or a modified firmware, but it runs alongside Canon's own firmware, booting from the card every time you turn the camera on. The only modification to the original firmware is the ability to boot software from the card.
HDR Video: what does it mean? It does not output pre-processed HDR video from the camera, rather it blends the alternative high ISO / low ISO frames together in post (see this discussion thread at Vimeo). There is of course a difference if you use two Canon 5D MKII for generating a HDR movie (as this guy did) compared to this "hack", although the development of Magic Lantern continues to impress!
Keep on rocking! We can't await clean HDMI output for the 5DMKII to use it with the Atomos Ninja (if this hack is possible at all...)
Just as Canon announced the C300 DSLR Video Camera - RED, the company behind the legendary RED EPIC camera, announces the RED SCARLET-X with Canon EF or Arri PL mount: a 4K camera with a price starting below 10.000US$. While the Canon C300 is a 1080p camera that uses 4:2:2 sampling, (50 Mbps MPEG2) and captures a total of 3840x2160 pixels with its Super 35mm image sensor, the RED has other specs: 440Mbps RED REDCODE RAW format at 444 , 12fps at 5K, 25fps at true 4K, 30fps in 3K and 60fps in 2K.
Canon also announced a real 4k Camera to be available somewhere in the next year. So 2012 could become the real year of DSLR Video.
Here is the original press release from RED.COM
RED STUDIOS HOLLYWOOD, Hollywood, Calif., November 3, 2011 – RED Digital Cinema has officially released its third industry-changing camera, the Scarlet-X. With burst modes up to 12 fps at full 5K resolution alongside 4K motion capture from 1-30 fps, the camera allows professional photographers and cinematographers to simultaneously capture motion footage and still content. Never miss a shot. Ever. Scarlet-X’s compact design, endless modularity and advanced feature set provide a future-proof solution catering to every shooter’s needs, leaving one-dimensional DSLRs and 1080p camcorders in its wake. Priced at under $10,000, Scarlet-X advances RED’s vision to democratize superlative cinema and professional photography.
Scarlet-X comes standard with a Canon EF or PL mount, which can be swapped easily using Scarlet-X’s interchangeable lens mount system. Panavision, Anamorphic, and Nikon lenses are also compatible with the camera, providing ultimate freedom when it comes to creative decision-making. The addition of HDRx reaches up to 18 stops of dynamic range, bringing digital images closer than ever to the natural perception of the human eye.
With the innate ability to capture 5K REDCODE RAW stills and true 4K motion footage, Scarlet-X produces visually lossless files that can easily be graded and finished. Combining all of the finest qualities of cinema and photography into one camera, Scarlet-X allows the customer to have the best of both worlds. Compromise nothing. Shoot everything.
“The future is dependent on those who push… not those who react,” said Jim Jannard, founder of RED Digital Cinema.
RED is now taking orders on RED.com for Scarlet-X.
Since delivering their first camera – the RED ONE – in 2007, RED Digital Cinema has jumped ahead of the pack over camera companies that had dominated the market for decades. Feature films shot with RED cameras such as the Academy Award-winning movie “The Social Network” and the more recent “Contagion” have contributed to a lineage of cinematic success. Since the 2011 introduction of DSMC (Digital Still & Motion Camera) technology, photography icons like Bruce Weber, Greg Williams and Inez + Vinoodh have used RED cameras to shoot covers and spreads for the some of the most influential fashion magazines in the world.
Follow the announcement at REDUSER.net/SCARLET.
[Update 20.11.2011] Philip Bloom posted a balanced take on the Scarlet. Worth a read.
Recommended reading on this topic: The Truth About 2K, 4K and The Future of Pixels