Welcome to our community

Be a part of something great, join today!

Register Log in
  • 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 :)

Sound Devices PIX 240 ProRes/DNxHD Video Recorder with EPIC

Ken Willinger said:
I heard that Sound Devices may be working on a fix for this, which would be nice. Red has so much on their plate that this would be way down on their list of priorities, IMHO.
BTW, there is a delay of about 170ms in the audio, which fortunately can be corrected via the Pix 240. It may be a sync problem sending that audio out of the pix and into the Epic/Scarlet. We've been going double system, sending main audio to the pix as it is beautifully TC and metadata synced (as well as recording seperately at the mixer) and sending a scratch track to the Epic via the monitor out on the mixer.
Click to expand...

Ken, are you saying that the sdi feed from the camera is delayed, related to the live audio?
Running an audio feed from the mixer,to the epic/scarlet, rather than the pix makes sense in that case.
 
stu aull said:
AND-
has RED got a time-line when they will address the Crop on the SDI output that results in bars on the top and bottom of the PIX screen - and subsequent recording....?

These recorders will go a LONG way to keeping clients happy that want a 1080 ProRes (or Avid) file instead of 4K. (and us keeping those clients!!)

Stu Aull
Alaska
Click to expand...

I think that we just need a proper 16x9 mode on the camera and that should fix it. I'm sending a 16x9 box out of the camera to let the editor know where to crop. It's still not the perfect solution but for an offline should work just fine.

A lot of Scarlet owners are about to find out that clients don't necessarily want 4k and the easier that you can make it for them, the better. The PIX goes a long way to easing the client's concerns.
 
Ken Willinger said:
I heard that Sound Devices may be working on a fix for this, which would be nice. Red has so much on their plate that this would be way down on their list of priorities, IMHO.
Click to expand...

Huh.
A previous (some weeks ago) email with SoundDevices techs said that the fix had to come from RED!? It would be FAB if SD can sort this one out, since as you say its likely not a big priority with the Red Team...

Stu Aull
Alaska
 
D Fuller said:
Why couldn't you use a line to mic pad?

Watch out for delay, though, the PIX is likely to introduce one on the sound going to camera, and the Scarlet another (on the image) going to the PIX. Could be ±6 frames.
Click to expand...

The 5pin out is basically E-E for the audio, so there should be no delay.

Of course, we've been asked to add a delay feature for the video assist guys, we will be looking into that.
 
Hey Matt,

Since you're hanging out here tonight, here's a question: would it be of any interest to Sound Devices to make a Pix 240 with a RED module form factor, taking advantage of the pins that go directly to Epic/Scarlet Brain circuits? No screen, but instead interface with RED's menus. Same audio inputs as PIX/MixPre, plus maybe also more MixPre type functions - limiters, test signal, knobs, led meters. Power from RED supply.

How many would you have to sell to make it viable? I think a lot of Scarlet owners will have customers who just want 1080p files for quite awhile. 4K is the future, but the transition will be lengthy for certain sectors.
 
Matt Mayer said:
The 5pin out is basically E-E for the audio, so there should be no delay.

Of course, we've been asked to add a delay feature for the video assist guys, we will be looking into that.
Click to expand...


Great to know. Thanks for clarifying that. (and for designing it that way!)

Love your stuff.
 
I would be grateful to hear of any scarlet users with the pix240.
Thanks,
Sam Edwards
 
Can anyone confirm that the crop factor when recording on the PIX is only on the Scarlet, not the EPIC?

Thanks,
Alex
 
Wouldn't QuadHD mode give you the full screen, or does that mode not exist anymore? Or is it caused by the look-around?
 
Again, at the moment (today being Jan 16,2012) there is no "clean" out from Epic that does not have black bars on sides or top or both. 4khd or quad hd is 16x9 but with black on all four edges. "4k" has black on top and bottom. RED has indicated they are working on having a clean recordable out, but as always, they have a lot on their plate and I don't know how a) important it is relative to everything else in their minds b) how hard it is to implement. The fact that they have publicly indicated it is on their list makes me think we might see it in anywhere from tomorrow to 2-3 months from now.
 
Nate Clapp said:
Again, at the moment (today being Jan 16,2012) there is no "clean" out from Epic that does not have black bars on sides or top or both. 4khd or quad hd is 16x9 but with black on all four edges. "4k" has black on top and bottom. RED has indicated they are working on having a clean recordable out, but as always, they have a lot on their plate and I don't know how a) important it is relative to everything else in their minds b) how hard it is to implement. The fact that they have publicly indicated it is on their list makes me think we might see it in anywhere from tomorrow to 2-3 months from now.
Click to expand...

So, no use with epic or scarlet, did red start this thread ?

Mark de Blok Nsc
 
Mark de Blok said:
So, no use with epic or scarlet, did red start this thread ?

Mark de Blok Nsc
Click to expand...

on the contrary, it's really useful for offline and playback. Timecode matches, filenames match and you have great audio. You can send a clean output from the camera and do a small blowup in your edit program of choice and you have a 1080 file in avid or prores. The blowup in after effects is 114% to get to a 16x9 frame, 110 % for a 5kFF.
 
Shane Kelly said:
on the contrary, it's really useful for offline and playback. Timecode matches, filenames match and you have great audio. You can send a clean output from the camera and do a small blowup in your edit program of choice and you have a 1080 file in avid or prores. The blowup in after effects is 114% to get to a 16x9 frame, 110 % for a 5kFF.
Click to expand...


Thanks
 
FYI, here's a couple of screen grabs, no color correction whatsoever, one from the r3d 5kff and the second one from the pix prores 422. I've left the framelines on the pix one in order to differentiate it. You can send a clean output from the epic.
If we get the full frame output from the epic (no black bars) and a custom look out the sdi (redlogfilm if needs be), it would destroy any argument for using the alexa. At the end of the job you could have a ready to edit format and r3d 5k files for grading.
 

Attachments

  • redgrab.jpg
    redgrab.jpg
    84.9 KB · Views: 0
  • pixgrab.jpg
    pixgrab.jpg
    84.5 KB · Views: 0
Does anybody know if the Scarlet can put out 5k @ 24fps through the SDI output? It seems to be that a device like this could be very handy for Scarlet owners who want to shoot with a full Super 35 frame.
Cheers,
Sam
 
Sam Edwards said:
Does anybody know if the Scarlet can put out 5k @ 24fps through the SDI output? It seems to be that a device like this could be very handy for Scarlet owners who want to shoot with a full Super 35 frame.
Cheers,
Sam
Click to expand...

The SDI is 1080 out.
 
You must log in or register to reply here.
Back
Top