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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 One Pipeline Diagram v1.0

One note/question - my understanding is that Red One will have an eSATA port (right? For 2 drive setup, eSATA no SATA) on it, but not USB2/FireWire ports. So will that eSATA allow connection to anything other than Red Drive?

And is the workflow more like Red to Red Drive, then Red Drive to Red Cine (for RAW) or directly to a QT app if Redcode RGB?

-mike
 
Mike, I pulled USB-2 and firewire 400/800 right off the latest specs at;
http://red.com/techspecs.htm

Hoffman, not sure what you're asking. Essentially, each arrow represents one of many choices to get data/video out of the camera. One need only choose any one of the myriad paths that supports the production's frame format. The practical needs of monitoring, logging, recording, etc. might dictate the use of multiple paths on the set. This doesn't even show the use of splitters and such to allow multiple receivers on a single data path. The choices are mind boggling. ;-)

Rob, I'm still not sure what the "RAW data port" is.

M
 
MikeCurtis said:
One note/question - my understanding is that Red One will have an eSATA port (right? For 2 drive setup, eSATA no SATA) on it, but not USB2/FireWire ports. So will that eSATA allow connection to anything other than Red Drive?

And is the workflow more like Red to Red Drive, then Red Drive to Red Cine (for RAW) or directly to a QT app if Redcode RGB?

-mike
Click to expand...

Workflow:

1) record onto RED-DRIVE or REDFLASH

2) copy footage of the magazine to another drive / computer / storage array (either for backup and/or getting the magazine ready for new recordings)

3) load the camera generated REDCODE RAW files natively into REDCINE, process it and output to still sequences, QuickTime movies or QuickTime REDCODE

-AND/OR-

3) load the camera generated REDCODE RAW files into an application that can work with QuickTime files

More workflows might be possible. I'll generate some diagrams over the coming months
 
Michael:

1) the RAW port on the camera makes the raw data coming off the sensor available (with some changes like fixed pattern noise reduction & dead pixel mapping)

2) once RED-RAID is available you will be able to record the signal coming off this port. This will give you 4.5K instead of 4K recording up to 60 fps instead of 30 fps. You will also get 2K at 120 fps instead of 2K at 60 fps.

3) instead of the RAW port you can get the camera with the REDFLASH module so you can record to our flash based media (higher tolerances, no moving parts, thus more reliable)

As always things are subject to change.
 
Corrections

Corrections

A few corrections -

Audio 4 x mini XLR

RAW - 2540p RAW up to 60fps ( extract 4K out of that if desired)
- 1270p RAW up to 120fps ( extract 2K out of that if desired )

HDSDI - 1080p & 720p are 4:2:2 not RGB (per SMPTE specs)
 
Thanks for the clarifications.

Rob. Right now, I have the RAW Port connected directly to a PC but I don't know what type of connection that is. Has that port been defined from an industry standard specification or is it proprietary?

Stuart: 1270p? That's the first I've heard of that.

Per Rob, some ports/peripherals are mutually exclusive (ie: RAW port vs. REDFLASH.) I can note this distinction on the diagram if you will take a moment to define which ports/peripherals share the same spot on the camera.

Thanks for everything guys. This is truly exciting. The latest diagram is up now at;
http://austinfilmtools.com/pages/gear_red_one/red_one_workflow.htm

Michael
 
REDFLASH records the same kind of information as RED-DRIVE, so I don't think you need a different line or something on the chart for that.

More questions about the RAW port can be answered by Stuart. As far as I know that does not connect to a PC. You connect to RED-RAID which you can also connect to a PC (similar to RED-DRIVE).
 
I guess 1270p is just half of 2540p ie 2k plus overscan.

Nick
 
Rob Lohman said:
REDFLASH records the same kind of information as RED-DRIVE, so I don't think you need a different line or something on the chart for that.
Click to expand...

That's true, although I like the symmetry of that section of the diagram. :) When REDFLASH plugs into a slot in the camera, what data protocal is it using?

Rob Lohman said:
More questions about the RAW port can be answered by Stuart. As far as I know that does not connect to a PC. You connect to RED-RAID which you can also connect to a PC (similar to RED-DRIVE).
Click to expand...

Ah HA! I updated that as you note until I read further from Rob. Thanks!

Latest diagram update is up with these changes:
http://austinfilmtools.com/pages/gear_red_one/red_one_workflow.htm

I placed the diagram here as well. (It will dynamically update in this thread as I make future changes.
 
Diagram questions

Diagram questions

The following is my best recollections of Rob, Stuart & Graeme's posts, feel free to correct anything I have wrong - particularly since changes are ongoing:

1) I am not sure that the camera actually feeds out the image data over Firewire or USB 2.0, I had the impression that eSATA was the only way to send data to the RedDrive and then the RedDrive has all the interfaces for downloading the data: FW400/800, USB 2.0 and eSATA.

2) I made the assumption that since the RedFlash attaches the same place the RAW data port attaches that it would have some custom connector capable of higher data rates than the eSATA tap to the RedDrive. I further assume that at some point in the future that the RedFlash will allow for higher on camera data rates than the RedDrive since flash memory written to in parallel should have much higher potential bandwidth.

3) Unless I have the junction notation wrong from your earlier post it looks like you are missing a direct line from the camera's HD-SDI outputs to the HD monitor (bypassing the downconvert). You show the HDMI path, which I think will be very popular, but I am operating under the assumption that all outputs are always hot so you can go either way.
 
No. RED-DRIVE is a small external magazine to record REDCODE RAW/RGB to.

RED-RAID is a bigger system that will allow 4.5K recording up to 60 fps (or 2K at 120 fps).

Basically RED-RAID is a larger storage system than RED-DRIVE and will not use a lossy compression system.

Michael: looking good!

Blair: no, the raw port and flash interface are 2 different beasts. So at least for the moment it's limited to the same specs as RED-DRIVE. It's just more reliable (and truly onboard).
 
Rob Lohman said:
Blair: no, the raw port and flash interface are 2 different beasts. So at least for the moment it's limited to the same specs as RED-DRIVE. It's just more reliable (and truly onboard).
Click to expand...
I was under the same impression as Blair (although we're cognizant of the "under development" moniker). Just wondering where the REDflash is going to go if not where the optical port is in the current design? Was it a space consideration in the cam to go with Esata for the flash ?

If I'm stepping on some toes with the clarifications I'd understand. Don't want to spoil any NAB surprises, but it'd be cool if we could get clarification on this flash issue.

Muchos gracias compadre... ;)
 
What flash issue are you talking about Gbabymogul?

The raw optical port module & flash module use the same area of the camera.
They use a different system underneath.
 
Rob Lohman said:
What flash issue are you talking about Gbabymogul?

The raw optical port module & flash module use the same area of the camera.
They use a different system underneath.
Click to expand...
I wasn't sure if the Flash was still going to go where the optical port goes in the current renders. Previously, there was some talk of it possibly going elsewhere and/or with some of the onboard vs. offboard talk, it was still a ?. Granted I know you guys are still subject to change, but I'm glad to hear that part of the design hasn't changed. :)

Thanks for the clarification, mate.
 
Quick question, and I apologise if it has been answered elsewhere.

Does RED ONE support a scaled live output through HD-SDI when in 4K/2K modes? If not, what is my alternative for on-set monitoring?
 
excellent job on the diagram, Michael!

just wondering if the HDMI connection will adhere to the new 1.3 specification or will it be based on the current 1.2 specs? There seems to be a big jump between the two...but not sure is if it's relevant for the RED camera.

Here's a link to the new spec's: http://www.hdmi.org/resourcecenter/index.asp
 
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