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  1. #301  
    Senior Member Emmanuel Cambier's Avatar
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    Anything that can help competing against the Alexa in term of media delivery will be much appreciated.
    After all if MV and comercials producers are happy with a prores delivery, who am I to force them into a raw workflow.
    The best of course would be to be able to offer them both without any onset transcodes.
    ecmp media production / Red Epic-X #457 / Red One Cameras MX #1276 & #6585 / Optimo 24-290 / 2 x Ruby 14-24 Zooms / 2 x Red Pro Primes / 2 x Red Pro 300mm / 2 x O'Connor 2575 D
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  2. #302  
    might we see real time wireless HD video for client monitors and steadicam work... to ipad's and iphones with proxy recording if required?
    we really need a realtime HD wireless video module, please
    Rory Hinds
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  3. #303  
    Senior Member Mark Toia's Avatar
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    Yes It's amazing how PRORES is now excepted over RAW in TV land

    I cant get my head around it other than it being just easier... THATS IT!

    I'll stick with RAW, because I get more out of my shots and with my workflows its as fast as a PRO RES workflow as well.

    Remember a lot of people out there would never know what RAW gets you, the 5D revolution has made sweet work of that.
    The close enough is good enough X Y Z generation is here to stay.

    There will be hi end RAW people and there will be the color baked PRORES / H264 Middle / low end professionals.
    and thats the way it will be forever more. No good fighting it and it does not matter.

    Just safely know this fact. When you (finally) get your EPIC you will have a camera half the size of the competition, with 4 times the resolution, with 4 times faster frames rates shooting 5 RAW and costs 1/3 the price....

    That makes me go to bed with a smile on my dial every single night.

    Could not be happier with my choice :)
    Mark Toia
    Director / DP / Founder of Zoom Film & Television

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  4. #304  
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    Quote Originally Posted by Damien Molineaux View Post
    Nice !

    The first one heh ?!

    Will the second one offer ProRes, with choice of 422, HQ or 4444 ?

    H.264 is great, but a pain to edit, ProRes is it right now, especially since Arri is using it.

    Cheers,
    Damien
    what i saw is that the "hated" FCPX can handle h264 quiet well now ? so a perfect system for fast editing on set and producing dailies.
    to give h264 right out of the box to the customer of a commercial or to send it to an ipad is pretty cool.
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  5. #305  
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    Quote Originally Posted by Deanan View Post
    We'd call it REDpad just to be non standard and it won't have email or web :)
    I know this is an old post but, eeewww, RedPad... There's an image.
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  6. #306  
    "I'll stick with RAW, because I get more out of my shots and with my workflows its as fast as a PRO RES workflow as well.

    Remember a lot of people out there would never know what RAW gets you, the 5D revolution has made sweet work of that.
    The close enough is good enough X Y Z generation is here to stay.

    There will be hi end RAW people and there will be the color baked PRORES / H264 Middle / low end professionals.
    and thats the way it will be forever more. No good fighting it and it does not matter."

    There's a huge difference between the images an Alexa in LogC ProRes shoots and the images a 5D produces. One shouldn't
    lump all the "ProRes" cams together. Raw is great, but right now you're looking at 10GB/min for ArriRaw (per a trusted DIT I just worked with). Thank goodness for Redcode Raw.
    Michael Jacob Kerber
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  7. #307  
    Within the obvious limitations compared to Epic, The Prores output of an Alexa can produce really nice and flexible images.

    My main issue with Prores is that it's Apple. A closed format and support for it is completely in the hands of a party that

    What Prores had going for it was the enormous user base in FCP editors that use it. In the light of recent developments I think if there was ever a time to move the industry towards a more open 'common' format it would be today. DNxHD for instance is available (read/write) on multiple platforms (including Linux) for free, and exists in multiple datarates, and supports an alpha channel.

    Barend
    Raamw3rk
    independent colourist and vfx artist
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  8. #308 Proxy Modules for documentary work 
    Senior Member James Brundige's Avatar
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    I've been pimping for a Pro Res module for couple years now. I shut up when the AJA recorder came out, but with this H.264 in production, I'll pipe up again. Point is, it would be useful on a number of levels to have this option. First of all, episodic TV and magazine shows. They want files at the end of the shoot day, period. Alexa does that really well. And H.264 is not good enough for this purpose.

    For my purposes, I shoot docs. I shoot hours and hours of interviews for most shows. I shoot most interviews now on an EX-1, because the files are that much quicker to deal with and smaller. If it's a beautiful, complex, background, I'll shoot one on the Red. I light interviews really well, and usually nail the color balance with a good monitor, so I don't need RAW, or 4K for broadcast release. I would love to have a module (DNX HD would be fine in light of the Apple fiasco in progress) to have this option for fast workflow and storage efficiency. I do all B-roll on the Red, and would prefer to shoot everything with my imminent Epic.

    PS The other reason I still use it is the EX-1 has a better audio section. I'm hoping Pro I/O will change that. (still looking for pots and meters). Clearly Red is set to dominate the feature market, but there's a lot of work being done for TV that is less sexy, but maybe worth paying attention to.
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  9.   This is the last RED TEAM post in this thread.   #309  
    there are a ton of proxy options out there that work with Epic to give you ProRes or H.264 or whatever flavor of files you want.. i think there were more proxy recorders shown at NAB than new cameras :)

    we are still working on something.. but the priority was lowered because of the above. But take a look at whats out there right now.. there are recorders that will name your files the same as your R3D's and match timecode and start/stop off the camera trigger... and although they might not fit perfectly onto the back of the Epic like a module does.. most of them rigged on to Epic equal half the size of an Alexa.. and you still get the 5K raw file which the Alexa can't do :)
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  10. #310  
    Senior Member shashbugu's Avatar
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    oh yeah, list a few names of recorders....
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