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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 :)

Producer decides to pay more for a HVX rental over a Red

Deck

Deck

editblog said:
Isn't this what Scratch Cine was sold as? Being this is digital acquisition you will always have digital files on a hard drive before you have a tape of what was shot. If you tether an HDCAM SR deck to your RED during the shoot then it's not much different from a number of the other digital cinema cameras out there.... except for its original cost.
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I don't mean traditional deck per se, but something that acts like it. Like how the camera does a down and dirty real time debayer and outputs 1080 out the HD-SDI outs.
 
Sir Pancake said:
I don't mean traditional deck per se, but something that acts like it. Like how the camera does a down and dirty real time debayer and outputs 1080 out the HD-SDI outs.
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That's exactly what the Scratch Cine will do from what I understand about it .. in addition to other stuff but one big selling point was that it when from .R3Ds out to a tape format if that is what you need.
 
Red camera is easily accessible since 4-5 moths only.
Just look back in the past and try to remember the hassles surrounding the f900 and it's post workflow.
they are probably more films, tv shows, commercials being made in the first 6 months by Red One then F900 in it's first 3 years.
 
editblog said:
That's exactly what the Scratch Cine will do from what I understand about it .. in addition to other stuff but one big selling point was that it when from .R3Ds out to a tape format if that is what you need.
Click to expand...

The aspect that's missing from SCRATCH Cine as I see it is deck emulation. You can't treat it as a deck.

The workflow I envisage would be something like with XDCAM in a tape-based environment, where it's a file-based system but the deck provide a tape-like interface. I figure you'd load your RED footage into the machine, select which reel is loaded and then would have standard tape-transport operations. The NLE could use standard RS422 controls to cue it to a specific timecode and playback.

For 'online' capture you could take looks created in REDCINE and apply them to individual clips, groups of clips or reels.
 
Sycophant said:
The workflow I envisage would be something like with XDCAM in a tape-based environment, where it's a file-based system but the deck provide a tape-like interface. I figure you'd load your RED footage into the machine, select which reel is loaded and then would have standard tape-transport operations. The NLE could use standard RS422 controls to cue it to a specific timecode and playback.
Click to expand...

I see what you are saying. Since there is an XDCAM deck this makes perfect sense to have something similar for RED. I think a lot of RED purists would argue that that is exactly what they don't want .. something that even resembles a linear workflow but it would make great sense as a plug n play option right into the racks of a post house. Is there such a thing for P2?
 
editblog said:
I see what you are saying. Since there is an XDCAM deck this makes perfect sense to have something similar for RED. I think a lot of RED purists would argue that that is exactly what they don't want .. something that even resembles a linear workflow but it would make great sense as a plug n play option right into the racks of a post house. Is there such a thing for P2?
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The AJ-HPM110...

http://catalog2.panasonic.com/webap...d=218163&catGroupId=34402&surfModel=AJ-HPM110

The VTR should take the CF cards directly like RED RAY and offer a remote like a VTR...
 
Direct playback off cards is not so important to my mind, having to offload to a deck, or better still network playback from a fileserver, would be fine (and more flexible.

RED purists, if there is such a thing, might have a problem with this workflow and justifiably so if it were the only one, but as I see it this would be a great solution of HD production on things like music videos and TVCs, which it probably the bread and butter of RED work really. Not the best solution for feature production perhaps.
 
The Third Man said:
Probably Finner had a bad luck dealing with sort of hardline and pretty conservative customers.

I've been showing almost 5 months ago that with Scratch even 4K output on drive(s) can be done on Macbook Pro 17" laptop in a field.

About DVCPRO HD output is much much faster.
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But you cannot buy such a Scratch... :)

All my Scratch offerings have included (very good) hardware.
 
gunleik said:
But you cannot buy such a Scratch... :)

All my Scratch offerings have included (very good) hardware.
Click to expand...

You could.

If you buy a full package with hardware and if you are nice maybe you get extra license for your laptop.

Just kidding :) .

But you can try...
 
Hi Finner,
As RED is not really a 1080p system I can see your problems.
Jim considers 1080p to be somewhat out of date although the entire
HDTV industry still use it and the odd feature film here and there.
Unless there is a 1080 build for RED ONE and the CAMERA can produce
a decent debayered output to 1080p for HDTV and tape backup , then producers will
always be touchy about R3d.
I know that Sony and probably Panny are delighted that Jim feels this way about 1080p.
And we now have a situation in my area where a very large national post
production house refuse to deal with any R3d files.
I'm a fan of the RED concept and I can see where the RED guys want to
go in the future but like all of us, RED has to live in the real world, NOW.
At least in the HDTV industry.
It all really comes down to the Jim Jannard game plan and how he feels about 1080p at any given moment. He likes you, maybe you can change his mind on this. It would certainly give his competition a headache, that might
turn him on.
Bottom line is, you can't fit your camera into a common 1080p workflow because of a
personal preference or choice in design made by the guy who owns said RED camera company.
You may have to ask him, is that a good or a bad choice?
Cheers Mezmo
 
Finner said:
this week the camera was considered as a B camera on a commercial with a panasonic varicam being the A camera but the red was passed over for a HVX instead. Even though the HVX package was more expensive for the day it was picked because of Red post issues.
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Finner, we chose F900R over RED for a job recently, even though RED was offered to us free of charge.
 
My thoughts on all this...

1080P output from the camera would have been fantastic but would also have eliminated RED's best feature - raw capture. RED raw is why the camera's footage is a true digital negative.

The only real problem with posting RD3 footage today is hardware bottlenecks. When our computer processing grows a few more generations or a company like AJA or Nvidia makes a dedicated card for de-bayering RED raw - will we be able to work with RED footage in close to real time.

Maybe RED was way ahead of it's time for the jobs many of us are trying to shoot with it. For me it's great because I will probably handle most of my own rendering. For other RED users that have to hand over footage to established post houses that are inflexible in their ways, it's more difficult.

I think as more people are exposed to RED's quality, they will be willing to change their post workflow to end up with a higher quality product. It's only been a few months since RED has reached the market in a big way. It will take time for the market to catch up.

In my opinion RED has always been a substitute for 35mm film, not video. It's an easy sell to film clients who will save money and not give up quality. For a video client, they will not save money using RED and if video quality was good enough up until now - they will probably not see or care about the difference anyway.

For me it was simple - I wanted a movie camera that shoots with the quality of my Canon DSLR's. And RED is that camera.

.... thanks for listening...
 
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