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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 :)

13th responses here...

chadliebenguth said:
Scarlet 2/3 fixed lens, RED Handle, 2.4 LCD, CF Card Module

probably less than $3k

PROBLEM SOLVED

:excl:
Click to expand...


yeah it's all there, I dont understand why some of us are saying otherwise. It's just because now we have more options... and you want the better option. simple.
 
Congratulations RED TEAM. Spectacular announcement. Jim, while we are at it, you could have thrown in a 4"x5" (plus bellow movement) "brain" to allow me the use my extensive collection of Linhof/Schneider lenses. Just think of IMAX at near 4X the resolution (and zero DOF). Once again: Bravo!
 
Red to Blu workflow?

Red to Blu workflow?

Well you know, combine RED and Blu and you get purple - which just happens to be my favorite color. The color of Adobe is purple.

Thanks dudes. I'll be upgrading my CS3 production premium to CS4.

Dillon

Hayhurst said:
Good morning one & all,

We've been cranking out code with the RED team, lining up for the same schedule.
Next week we'll ship a full native workflow for RED in Premiere Pro CS4, After Effects CS4 and even Encore CS4 (the RED to Blu workflow).

We've come a long way since the IBC demos --- more performance, more stability, more options, and tuning it to CS4 which is architected for 64 bit systems so that you can stuff it full of memory and get that smooth as butter experience.

Import your R3D files, change resolution on the fly, pop into full resolution for some detail work, drop all the way down to 1/16th for fast cuts on a laptop --- it's all there.

We're right up to 2K at full performance with the latest drop.

Oh, and did I mention that we're working the RED gang on exposing more control on the realtime de-bayering ? ... and of course with Assimilate on making it a full, clean, raw end to end workflow ?

Expect the importer to be posted with RED and linked from Adobe before Thanksgiving. Nov 20th is looking like the date (not that dates ever change).

Many thanks to our beta-testers ... you've been awesome turning things around and helping us shape the future.

It's cool.

It's Christmas come early.

Enjoy.

Simon & the Merry Adobe Gang
Keeping you close to the lens
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everyone: Jim and Co has been super generous. I am sure many of you already know that but I want to say it myself. We've got tremendously more than we asked for. . . maybe not on the price but hey every other camera is close to $5000 and up - and they still do not meet our filmmaking dreams. While we were thinking small, they thought Monstrously and I have to say thank you RED.
 
I just got an email this morning from a director, with a pdf of some sony cameras attached. I burst out laughing reading it...

You guys just blew my fragile human mind.
 
Truly Independent

Truly Independent

Thanks, RED. I really feel that true independent film was resurrected today.
Those mini-interchangeables are way cool. Put me down for a set, please.
 
Brilliant !
Aloha
-A
 
david farland said:
Why not use a cropped image? Deanan, would this still yield 13+ stops?
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Deanan said:
Yes. Cropping does not affect dynamic range.
Click to expand...

While that's technically true, I would like to add that you can get *more* than 13 stops by resampling to lower resolutions. Every fourfold reduction in resolution (e.g. 4K to 2K) results in a full stop less noise, because random noise adds in quadrature.

In other words, 13+ stops at 5K will give you 14+ stops at 2.5K and 15+ stops at 720p. If you crop to 720p, you'll only have 13+ stops.
 
skipdivils said:
post software workflow-ease is the single biggest determining factor in all of this. i am sure RED has thought of this, and i would love to hear Jim's ideas on this subject. outpacing post software by too much would not be good. i remain hopeful that more than just adobe will be on-board with native RED worflow....this is the key to the kingdom.
Click to expand...

There's lots of exciting stuff coming on this! And yes, we're fully aware that we have some big post challenges ahead and we think we have a good plan in place to tackle them.

That's all we can say for now...
 
I'm going to assume (always a mistake with Apple) that FCP won't be far behind Adobe in making the Red workflow work equally as well. (When I think back to the days when I was the first to order D-Beta tape machines in Canada - not all that long ago - I feel a little like I've entered the Twilight Zone, here. Happily entered, that is.) Or perhaps I'll just have to see whether Adobe will still honor an upgrade path from Premiere 6.5 (Mac) which has sat unused for years.

Sony and Panasonic must feel like the earth has been removed from beneath them.

Again, well done, Red Team. I can't wait to begin shooting with Scarlet - and even more I can't wait to put it in the hands of my two 20-something sons, and 18 year old daughter - to see what magic they can release. Everything has changed. :biggrin:
 
Ya know, its easy to fall into a "more is better" trap when we are all still stunned by a 28k camera, but that little 2/3" Scarlet with those mini lenses is looking pretty cute. Heck, 120 fps, 3k -- nothing to sneeze at here just because the sensor is relatively small.

Marc
 
Thank you very much red team!

Thank you very much red team!

CONGRATULATIONS for your hard work in the last years, you are building a new way, a new philosophy of Digital Still and Motion Camera. Some companies bring hope, Red brings REALITY. You created the most fun camera in the entire market with INCREDIBLE possibilities...and I love the 3D set up, iujuuuuu!

Thanks a lot for your work RED TEAM, you are making the change to a New Era

Have a nice sleep,
Ortzi
 
Great work again Red,

Chart with date/size etc.......

48_1226605808.jpg


Stills - The S35 Scarlet (9 mths) with PL mount/11+ stops look like the first to ship.

Motion - The Epic S35 (9 mths) with PL mount/11+ stops at an additional $11K (REd One upgrade) will go at the same time.

Upgrade - I'd be looking to upgrade both Scarlet/Epic when the Monstro with Red mount/13+ stops.

It would be suicide for Jim not to support Monstro /PL mount in 15mths. He's gonna do it!

I'm interested how Jim will setup the Red/PL mount choice for Monstro and also how he'll introduce their Red mount FF35 lenses for the Epic (I guess).

D

ps: I get it now.....

In 18 mths everyone will go with wider aperature sensor/ Red mount/lenses! I'm suspecting Jim will give an easy PL/Red mount option!
 
Hey Rob what is the data rate of 5 K at 24 P at RC 225!
Thanks in advance
 
Wow. Excuse me whilst I collect my brain from all over the floor. Jim & Crew, you guys astound me.

In my head, I'm seeing the world change right now. Such a leapfrog in current imaging technology will cause ripples everywhere. I'm seeing the film and TV industries change the way they do things, social media, computing technology (to handle the post challenges), display technology, 3D advancement, photo manufacturer industry, movie theatres - this announcement is so much bigger than good news for small production companies (like mine). This really is a world changer the way I see it.

You guys have bested everyone at their own game - and you did it with passion, wisdom, sheer intelligence and in your own garage (well, ranch?). Props to you Red Crew.

Now, I'm going to get in line for my Scarlet. I hope a new web tool will be released soon so that I can configure my dream camera online. : )
 
Now more than ever ....

Now more than ever ....

Story is the king.

RED really is ushering in the democratization of filmmaking just as computers helped usher in the democratization of music making.

So many more people will be able to get quality gear, but without a good story, or good skillset, the gear will only produce technically superior images.

Not that there's anything wrong with that.

Dillon T.
 
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