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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 :)

Proxy Module...

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.
 
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
 
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 :)
 
Damien Molineaux said:
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
Click to expand...

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.
 
"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.
 
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
 
Proxy Modules for documentary work

Proxy Modules for documentary work

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.
 
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 :)
 
oh yeah, list a few names of recorders....
 
Nano Flash
Gemini 4:4:4
AJA Ki Pro Mini
Sound Devices Pix 240/220

The Nano Flash is the only one I'd consider small in the scheme of mounting to an Epic. The Gemini and Sound Devices incorporate
a small LCD monitor too, but I'm not sure about the image quality versus a Red LCD or Marshall, Small HD, etc. I'd guess they don't compare
well, as they're recorders first and foremost. The Gemini and Sound Devices record to SSD's. Gemini is proprietary while the Sound Devices
can use off the shelf SSD's.

I haven't used any of the above, just relaying a bit of what I saw at NAB and Cine Gear.
 
Great...which is one that can have the same file name, reel id and TC to the proxy module ?
 
None. BTW, the Ninja wasn't mentioned, the cheapest of them all and pretty well thought out. We'll need to bug the manufacturers about the features RivalC mentions.
 
Thats awesome, those EPIC/SCARLET are gonna be the reference.
Day after day, user get new possibility
Your developpement strategy is a dream!
Thanks a lot
 
RivaiC said:
Great...which is one that can have the same file name, reel id and TC to the proxy module ?
Click to expand...

bingo!!!! thats what I wanted to hold Jarred hostage on. Jarred/ don't call those recorders proxy modules, they simply have no proxy features. They are just recorders.
 
shashbugu said:
bingo!!!! thats what I wanted to hold Jarred hostage on. Jarred/ don't call those recorders proxy modules, they simply have no proxy features. They are just recorders.
Click to expand...

I believe what Jarred was referring to in that case was the Terradek CUBE. It does have the ability to stream h.264 and allow you to record those files with proper timecode and names while being triggered by the camera start and stop. It simply works. There are options out there.
 
Jeremy Newmark said:
I believe what Jarred was referring to in that case was the Terradek CUBE. It does have the ability to stream h.264 and allow you to record those files with proper timecode and names while being triggered by the camera start and stop. It simply works. There are options out there.
Click to expand...

I agree that the Teradek Cube is a great little product, but I would never use it for proxy recording in the kind of productions we do here in my part of the world. For 90% of the productions we do we simply do not have either the time or money to set up wireless networks, NAS storage and so on - so unless a company comes up with a one-button-fool-proof system for this there's no way it'll ever work in our world. I would much rather have an Atomos Samurai solution with on-board recording of ProRes. I hope third parties are allowed to interface with the Epic connectors :-)
 
Live Play from Lightiron is very cool. I was very impressed with the demo Michael Cioni gave at this year's NAB and I can certainly see the use for it on some productions. However - it still requires a wireless network and a computer on the set. I'm currently contemplating building a self-contained in-a-box solution for this exact use - but it need to be totally bullet-proof to use and set-up. And it should be able to run on it's own battery for a full day without problems.
 
Its about the wireless streaming.
Existing solutions suck in that regard.
No matter of its pro (e.g. IDX wireless HD) or mid-something like cube.
It is either the reception quality or the setup.
Who wants WiFi on set and set it up or everytime power was disconnected having to manually fire WLAN up again and login and check settings ?

Switch on, maybe wait a minute, works.

So it must go.

If you work on something: collaborate (even closer) with Teradek and make it bullet- and idiotproof.

Independent streaming from camera to (xPad) while camera is reframing (not recording) would be a great plus and might save an additional video assist.
We need video assist, just because some need to look at the last take while camera already wants to setup next framing.
 
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