Proxy Module...

[Casey Green]

Lemo connectors aren't good for RF as WiFi antennas would require.

Most applications such as this requiring detachable RF antennas use something like a SMC style connector. They aren't recessed, so if you operate sans antennas, you'll have a couple of small stubs up top.

-sc

I see.

And that's what I'm getting at with the idea to mount them on the "dumb side" of the Camera using L adapters. But even better, they could mount with a Element Technica style V-Dock on the rods, etc...

[Tim Whitcomb]

is there a Geothermic Proxy module that extracts heat from the sensor to boil water for tea or french press for the crew? NOW that would save quite a bit on craft services and keep my DIT awake to keep transcoding via 4 Red Rocket at 4K FULL debayer at his DIT station located about 20 feet from the camera.

[Mark Pedersen]

RED is increasing the workflow flexibility on Epic and Scarlet with Proxy Modules… the first of which is an H.264 Module.

This module encodes a 1080P stream (high quality scale from full frame) and records to Compact Flash in a rear module. The module also offers secure password protected streaming over dedicated WiFi and ethernet to iPhones, iPads, laptops as well as broadcast to the internet.

This will be beneficial for on set viewing, instant dailies, offline editing, easy file transfer to remote locations, dailies review and collaboration services with such companies as Pix, or live broadcasting for realtime media distribution.

The modules will also support full metadata and XML for editorial.

Availability will be September 2010 and the price will be $2500.

Jim

So it's true. Freakin awesome!!

Thanks Jim!

M

[Manuel Wenger]

Red again proofed that obsolence is obsolete, with this module i even have a use for my old 8GB CF Cards :)

[Chris Hocking]

Could this module work with any of the 7000 RED Ones out there?

David has asked a very important question, but has yet to be answered. Will there be a similar solution for the RED ONE? I seriously doubt the RED ONE is going to go away any time soon, so once word gets out to directors and producers that they can view "instantlies" on their iPad on set when you shoot RED, they're going to be really disappointed if the camera crew rock up with an RED ONE and not an EPIC.

I wonder if it's TECHNICALLY possible to port the technology from the second-generation range (i.e. EPIC) to the first (i.e. RED ONE)?

As for the ProRes/DNxHD discussion... It will take much less hard drive space to just use R3Ds for offline and online than it will to have ProRes/DNxHD Proxies for the offline and R3Ds/DPXs for the online. Plus, if the online AND offline facility have copies of the R3Ds, then double the redundancy (keeping in mind there should always be more than three copies anyway...)! If storage and NLEs are able to afforably and effectively handle native R3Ds - then why have proxies at all? I don't see the need. Faster processors, cheaper drives, and devices like the ROCKET kill the need for proxies.

However, that said... I can also see RED coming out with their own "REDproxy" format - similar to ProRes/DNxHD/Cineform, that's open source, and will eventually be implimented on all the major platforms... But then again... why bother, if R3Ds solve all the major issues and make workflows SIMPLIER...

As someone who has been assistant editor on way too many RED productions (commercials, short form and longer form) to count, I can understand why everyone is yelling and screaming for ProRes/DNxHD support. But LONGTERM - I can't see it mattering all that much in the professional world... ALTHOUGH! For the Scarlet market - I can certainly see a need for a "REDproxy" format so that "kids and mums" can edit quickly and easily on their laptops (or even iPads?).

Just my 2c.

Chris!

[Peter Moretti]

Chris, what will work longterm does not help a production today.

The fact of the matter is that there is not one install of Avid MC that can read .R3D or ProRes or H.264 w/o a transcode. And well after MC 5 is released, most production house will still be using older versions of MC. So again, no plug-and-play ProRes, H.264 or .R3D.

Arri's Alexa has the neat motto "shoot > edit." Red has been getting hammered for not having a post workflow that fits into the existing post infrastructure. Well H.264 doesn't do that. Some open source proxy codec doesn't do that. The only proxy format that will work in the post evnironment that the largest films currently use today is DNxHD.

And it is for this very reason, Red should make a DNxHD proxy module. It's simple: shoot future proof 4K but edit/offline/TV-finish in easy to use DNxHD today. You get the best of both worlds.

Another complaint about the Red's workflow is the metadata management is a PITA. I don't believe there is a wrapper besides MXF that can accurately track all of Red's metadata. So DNxHD MXF files will allow you to have proxies that accurately and fully match the .R3D's.

Really, if Red wants to make inroads into the largest prodcutions--which Alexa is clearly aimed at--this is a no-brainer.

[David Battistella]

The only proxy format that will work in the post evnironment that the largest films currently use today is DNxHD.

Peter,

Is this a stretch? Are you talking LA or worldwide? I think ARRI probably would have gone with this codec if it was even close to the quality and acceptability of ProRes.

I think 9 of the 10 best picture nom's in '09 edited FCP (i might be wrong on that) but seriously, RED have chosen H.264 and Arri have chosen Prores. What does that tell you about the AVID codec for aquisition?

PS: I appreciate the passion of your arguement and you obviously love AVID but to expect either of these camera companies to create an AVID specific module is a bit much.

David

[Rex Teese]

David,
FCP was used on one of the best editing nominations (a serious man), but the rest were avid. As for the best picture nominations, One was edited on FCP, maybe two others. Please check your facts when posting something as lopsided as that.

As for dnxhd, it has been tested by many people along side of Apple prores and it's been concluded that both perform their functions for mastering very well. Either is a good option. For Hollywood big budget, Avid is the current workhorse and is deeply entrenched. For broadcast it could be said to be 50/50 and FCP takes the edge for indies.

[Gunleik Groven]

DNxXX is huge, but gone from a lot of major players here.

Wheter there is quality or practicallities in workflow integration causing that is a much discusse issue. Prores is the copy. DNx is the original. AFAIK they behave pretty much the same. On the FCP vs AVID discussion, I'd rather shout:

Duck! Violent,-passionate-and-emotional-stuff-that-might-hit-you-in-the-face-after- hitting the fan stuff going on!!! Don't go there. Find what fits you the best!

[David Battistella]

DNxXX is huge, but gone from a lot of major players here.

Wheter there is quality or practicallities in workflow integration causing that is a much discusse issue. Prores is the copy. DNx is the original. AFAIK they behave pretty much the same. On the FCP vs AVID discussion, I'd rather shout:

Duck! Violent,-passionate-and-emotional-stuff-that-might-hit-you-in-the-face-after- hitting the fan stuff going on!!! Don't go there. Find what fits you the best!

I don't know if the module could be programmed into different flavours and I really do not want to engange in a very onld AVID vs. FCP debate (especially with free lightworks next month).

The RED module will deliver the same format that HDSLR's are delivering H.264 but most likely with much better image quality. So the workflow into AVID or FCP will be the same as HDSLR.

H.264, for most people, will mean a transcode to DNXHD or PRORES. Everyone wins.

David