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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Red vs Genesis vs Alexa

Adam J McKay said:
I too have edited natively on CS5, but how do you gain control over the RAW files without redecine. IE ASA, Color temp, Gamma? If you just bring an r3d into CS5 what does it default to? The settings it was shot at? I have tried finding answers on the site, so if someone can link me to some threads that be sweet.
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On your project bin, right click on a clip, go to "Source Settings" and, boom, you get a RAW dialog box with most of all the same features available in Redcine until the latest color science upgrade. Adjust as needed and the changes automatically appear on your timeline footage. You can then right click again, go to "Interpret Footage", select, remember interpretation and click on as many files as you wish to copy the same settings to, right click to apply interpretation and you're set. You can also right click on any file from the timeline itself to access Source Settings. Since I don't do any transcoding or color correction on Redcine, I haven't use RCX for a long time now, accessing all the RAW metadata directly from Premiere. Except that now, with the new color science, I am going through REdcine again.
 
Tim Morten said:
Maybe if your clients HAVE to have ProRes - otherwise, R3D has native support from Avid, Adobe, Sony, Assimilate, DaVinci, etc. I'd suggest that the "hurdle" is insisting on a less than ideal format, not that Red media is itself a hurdle.
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Good point, I could TRY to edit on my old 486, but it isn't going to get me very far.

Steve
 
Graeme Nattress said:
Anecdote time: I visited our local college here to show them the RED. They told me how they'd got a grant to get an HDCAM camera a while back, which they used with the students, but they could never afford or get a grant for the HDCAM deck. At which point, I held up a $30 CF card reader, and said this was the RED's "HDCAM deck - $30 at Target".

I can shoot a small RED movie and have the video up on my Facebook page to show the grandparents back in the UK the kids in less time than it would be to even do the capture of a DV tape over firewire from my little DV camera, and that was before I got a Rocket card.

But then again, I'm biassed!

Graeme
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Good one! LOL.
 
I think you all missed my point, I am Mr Adobe CS5 man, you can check the Adobe workflow section to read my posts in support of Adobe. The problem I face is a real inter facility issue. In-house we have no issues we use PPro CS5 for editing and Smoke for all other things. I only have issues with other freelancers and professionals we have to work with. They just cant deal with R3D's, and I refuse to work with DSLR's and Videocams. I am a Red or Film guy and I wish everyone else could be as well. People come to us for projects budgeted for DSLR's as soon as I mention I only work on red for a slightly higher price they shut up, we deliver richer, quicker, future proof promos to them everyone is happy. I got a project where the DP and producer wanted to shoot on an Alexa, just to put on their resumes, as soon as I heard the options were Prores or uncompressed raw, I am like HELL to the NO. I can lower the resolution in post of Red footage to look like Alexa if thats what they wanted but the only camera's I want to shoot on next are the Epic and Epic LT.
 
Understood: it wasn't so long ago that ProRes was the non-standard format... everything changes - where have I heard that before? :)
 
Francesco Bonomo said:
And Japanese are getting ready for 8k television, as shown at IBC
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Joy... now I can get even more over bright, over saturated, epilepsy-inducing TV shows broadcast to me in 8 times the resolution I currently have.

The future is a wonderful place.
 
Gunleik Groven said:
Norway is AFAIK only installing 4k projectors onwards...
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How many so far?

I want to finish at 4k soooooo bad. A 4k deliverable can have a nice impact on theatrical distribution. Those installing 4k projectors already saw the difference.

More and more audiences will see that difference soon.
 
Francesco Bonomo said:
And Japanese are getting ready for 8k television....
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....and here is the Godzilla camera they are using to record that 8K image (note the additional refrigerator behind the camera too!):

IMG_0666s.jpg


Anyone want to put this on their Steadicam rig?? :lol:

Cheers from Tokyo,

Paul :)
 
Paul Leeming said:
....and here is the Godzilla camera they are using to record that 8K image (note the additional refrigerator behind the camera too!)
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Actually the Ikegami camera they showed at IBC was even bigger than that! :-) They plan to broadcast 8k in ten years, who knows what will happen, but the cameras could get smaller by then.
 
Kemalettin Sert said:
While Mr Jannard yelling resolution resolution in every post i thought Epic has the highest resolution..Congrats Godzilla Cam with 8K !
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Yeah, but Red still has the 6K full-frame, the 9K 645, and the 28K God-knows-what formats on the drawing boards.
 
LOL...

Seeing how much generous reframing was possible on our last show, it's hard to say that pixel doesn't count.

The flexibility of the RED image is quite cool...

WOuld've been cool to be able to keyframe that from RCX, though...
 
Kemalettin Sert said:
While Mr Jannard yelling resolution resolution in every post i thought Epic has the highest resolution..Congrats Godzilla Cam with 8K !
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Well, however much Jim "yells" resolution, pixel number is nothing without proper image management and image quality. That Godzilla camera produces very ugly images, yes I've seen them, and yes I know they're in the test phase but nothing compared to the iconic Milk Girls, and besides, what good is 8K if you need a refrigerator "add on" to record all that data. The beauty of the Epic is 6K, under 4 kilos, and the size of a big DSLR. Like that, at least to me, it feels like Jim is sweetly whispering in my ear as opposed to yelling...
 
The NHK 8K footage reminds me that resolution is a necessary, but not sufficient aspect of image quality.

Graeme
 
I have seen 8K footage from that camera and was not impressed. Video look. Digital artifacts.
 
Graeme, it is great to see where RED now is... the Imagequality gets better and better every day, thx for this work, first of all... after HDR possibility and the more resolution and new color science RED gets on top of the digital world in motion picture....

One thing we are dealing since day one is the look of the shutter.... in high contrast scenes would be a improvement really great... do you see any chance to get a more mechanical shutter look in the future ????

thx
rainer
 
No idea on that! Obviously, we're always looking though.

Graeme
 
Hey Friends

Why are we comparing Genesis/Alexa vs. RED ?

Genesis and Alexa are 1080P Video Cameras right?

Red is a 4 to 5K - RAW capturing Cinema Camera right?

So RED is the way better Camera, well thats what i thought so far?

those cameras are not the same Tools right?
and thats why, not playing in the same league?
 
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