Click here to go to the first RED TEAM post in this thread.   Thread: Proxy Module...

Reply to Thread
Page 12 of 41 FirstFirst ... 2891011121314151622 ... LastLast
Results 111 to 120 of 404
  1. #111  
    Senior Member Raphael Varandas's Avatar
    Join Date
    Jan 2008
    Location
    Sao Paulo - Brasil ( With S)
    Posts
    987
    Holly jesusssss!!!
    See you in a couple days
    thank you again
    Raphael Varandas
    DCINE Cinematografia Digital
    www.dcine.tv
    www.vimeo.com/dcine
    www.facebook.com/Dcine.Digital.Cinema


    Dragons at your reach @dcine.tv
    A special place to find Dragons, Glass, Post solutions on Set and good coffee ;)


    atendimento@dcine.tv
    raphael@dcine.tv


    SAO PAULO - BRASIL +5511.55498419 Office/+5511.972641757 mobile
    Reply With Quote  
     

  2. #112  
    Senior Member Jens Jakob Thorsen's Avatar
    Join Date
    Apr 2007
    Location
    Denmark
    Posts
    530
    ProRes and H264 module will sell, a h264 module only is just weird and obsolete;-)
    Jens Jakob Thorsen D.F.F.
    DOP
    Denmark
    www.jensjakob.com
    mail@jensjakob.com
    Epic #479
    Reply With Quote  
     

  3. #113  
    Quote Originally Posted by Jens Jakob Thorsen View Post
    ProRes and H264 module will sell, a h264 module only is just weird and obsolete;-)

    What if this module was plugged into a scarlet, not an epic... would that change your thinking at all?
    Reply With Quote  
     

  4. #114  
    Senior Member
    Join Date
    Mar 2009
    Location
    Mumbai, India
    Posts
    1,260
    Quote Originally Posted by Jens Jakob Thorsen View Post
    ProRes and H264 module will sell, a h264 module only is just weird and obsolete;-)
    H.264 is a standard, not a codec. I think you are seriously underestimating the scope for a stellar capture/intermediate H.264 codec. It has every capability of producing ProRes quality at a fraction the file size.
    Reply With Quote  
     

  5. #115  
    Senior Member
    Join Date
    Jan 2009
    Location
    Portland, OR
    Posts
    3,448
    Quote Originally Posted by Cüneyt Kaya View Post
    tim, a rocket is not only for dailies and offline files, imho its main advantage is to be able to grade in full debayer while the GPU can take care about the layers.

    a prores module would make perfect sense...its a pretty smart move from arri with prores and pretty smart from aaton with DNxHD.

    the proxy module is perfect for viewing purposes with h.264.
    if you can have a prores module it doesnt kill the rocket...the rocket is for grading
    (i see the prores module simply as instant-offline-datamaker-your editor smiles-module....the proxy module is the your director smiles like balu the bear while watching dailies on his ipad in the hotelroom, or having a ultralight wifi watchman, all watchmen i used suck pretty much in one or another way-----both are damn cool for the......and also a REDproxyapp would be great, which can record the wifi signal to the ipads storage....again no copying needed, .....erase a step when you can)



    i even go further....let the prores module be able to get a (wifi) audio signal and sync in camera.
    and let the prores module letterbox the files to the aspect ratio you did shoot and the settings you did choose on camera
    put your prores files on the mac, and the raw files can be stored on your online station.

    you know, the editors like to edit, they edit footage coming from various cameras (ergo, mostly no rocket in the NLE station)....the more people involved get the feeling with this camera system you can concentrate on the creative parts and not on the dull workflow parts, the more they like a system and use it.

    a director pretty much gets bored, if you explain him a workflow...if you can erase steps, erase them.




    NOTE: I personnaly wish an All In One system.....load r3d`s, sync bwf files, edit online, grade in the same timeline
    pretty much a rocket enabled smoke in a way....no waiting no xml, edl etc. one for all.

    BUT thats me, and there are people who want their editor to be happy, because their editors are highly creative, same goes for their colorists, happy=more creative
    horses for courses. i find most exceptional offline editors (storytellers) are not DI artists - and vice versa find DI artists who are not much for telling strories, but utterly fantastic at polishing them. all about the talent.

    We prefer to record RAW and process in post. Module gives you news speed. RR gives you minuties in a CF workflow. Fast enough for most of our productions.

    like I said, we all have our own uses and needs. horses for courses.

    I think its wonderful to have all these choices.
    Kind regards,

    Tim Whitcomb
    Filmmaker
    Reply With Quote  
     

  6. #116  
    Senior Member Kaku Ito's Avatar
    Join Date
    Feb 2008
    Location
    Chiyoda-ku, tokyo
    Posts
    2,761
    i suppose RED already has resources to edit H.264 without problems on some editing platforms.
    Kaku Ito/rawesome!

    Epic-M DRAGON, Epic-x x2, RED ONE MX, Motion Mount PL, Motion Mount EF, Canon Ti Mount, RED PRO Prime Set, Zeiss Lenses, 17-50mm RED Pro Zoom, 18-85mm RED Pro Zoom, RED ROCKET X, x3 RED ROCKETs, DaVinci Resolve, Cubix, Quadra 5000, Fully loaded New Mac Pro with Sonnet Echo Express III/R, few Mac Pros, few MacBook Pros, Sony BVM-D24, Sony 84" 4K TV, Panasonic 65 " Series 12 plasma, Calman with Klein probe.

    Rawesome! One Stop RAW Visual Production Service
    Reply With Quote  
     

  7. #117  
    Senior Member Ido Karilla's Avatar
    Join Date
    Oct 2007
    Location
    Tel Aviv, Israel
    Posts
    546
    Quote Originally Posted by Kaku Ito View Post
    i suppose RED already has resources to edit H.264 without problems on some editing platforms.

    Educated guess? Let me think? FCP?
    KARILLA IDO
    OPUS DIGITAL LAB
    TEL AVIV
    ISRAEL
    Reply With Quote  
     

  8.   Click here to go to the next RED TEAM post in this thread.
  #118  
    Red Team Deanan's Avatar
    Join Date
    Jan 2007
    Posts
    3,846
    Quote Originally Posted by Kaku Ito View Post
    i suppose RED already has resources to edit H.264 without problems on some editing platforms.
    Native R3D support is also growing rapidly in alot of apps.
    There'll be some very cool announcements at NAB.

    However, h.264 support (and other codecs in the works also) will open up alot flexibility for a variety of devices and workflows.
    Reply With Quote  
     

  9. #119  
    Do those "cool announcements" have anything to do with the fact that epic.red.com says that FCP has native R3D support? Or is that simply a loose interpretation of the fact that Color works off of the raw?
    Reply With Quote  
     

  10. #120 Smart, elegant 
    I have been hoping RED would go this way for some time - I was looking into how to make the NanoFlash do basically the same thing. It would be wonderful to get at the edit on set for some projects (and NOT news... some client projects just require a kind of speed that means taking advantage of every moment in a parallel fashion v/s a serial one).

    Having a client approved rough edit before the day is done means having more time to get the image just right - using a RR or "old fashioned" CPU workflow.

    Dear RED elves - I find your ever increasing product offerings to be quite sexy. I look forward to my Epic-X and this nifty little add on. Should be quite a treat to work with.
    Reply With Quote  
     

Posting Permissions
  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts