red transfer to f900 tape

[Michael Moreno]

this is not for me it is for a client
please let me know the ways of doing a transfer from red to f900 tape
i have a few ideas but am interested in others opinions,
and if everyone will say the same that its pointless.
Transfer in the field or at post house
this is for a television show
thanks

 

[Jeff Kilgroe]

Lots of ways to go about it... One of the easiest may be to connect the camera directly to an HDCAM deck via the HD-SDI output. If you shoot 4KHD, it will allow for an un-cropped view when you play back @ 1080p from the RED One.

Other than this, we get into other third-party hardware and post solutions. Such as using SCRATCH / SCRATCH-CINE for realtime playback at 2K/1080p over an SDI output. Or output from Kona / decklink SDI interfaces on workstations after the footage is transcoded to a format that can be more easily played real-time.

 

[Charles Angus]

I would ask your post house, and let them deal with it.

 

[Nicholas Shields]

If you're looking at doing in the "post" environment, go from r3d to uncompressed 10 bit 1080 and then out a kona 2 via sdi into the deck. If you don't have the deck, consult with a transfer house and send them your drive.

Best of luck,

Nick.

 

[Mike Burke]

Lots of ways to go about it... One of the easiest may be to connect the camera directly to an HDCAM deck via the HD-SDI output. If you shoot 4KHD, it will allow for an un-cropped view when you play back @ 1080p from the RED One.

.

This will not work for you. Sony only accepts Psf, or segmented frames.
The Red outputs only true "P".

What does work is HD-D5. It is switchable to accept P or Psf.

 

[Jonas Rejman]

www.upp.cz can do it via their Baselights.
native R3D data in - HDCAM out.

You would need to define the colorspaces (redspace/rec709) though, or book a proper onelight session, to get maximum quality.

A client used that workflow to create a BetaCam master from RED, that he then edited and finalized for a PAL commercial in the facility of his choice.


Contact me at jonas@rejman.com, if interested.

 

[Jeff Kilgroe]

This will not work for you. Sony only accepts Psf, or segmented frames.
The Red outputs only true "P".

What does work is HD-D5. It is switchable to accept P or Psf.

Interesting... So I guess that means a converter of some sort in between the camera and the deck... For some reason I thought the newer decks were accepting dual-link 4:4:4 with no segmenting.

 

[Mike Burke]

Interesting... So I guess that means a converter of some sort in between the camera and the deck... For some reason I thought the newer decks were accepting dual-link 4:4:4 with no segmenting.

Yes, we were hoping.
Unfortunately, they still require psf.

 

[John Hunt]

Yes, we were hoping.
Unfortunately, they still require psf.

I was under the impression that the newer 5800 HDCAM decks had an optional board that accepts 4K/2K file transfers and also record 1080p, not just PsF.

 

[Mike Burke]

I was under the impression that the newer 5800 HDCAM decks had an optional board that accepts 4K/2K file transfers and also record 1080p, not just PsF.

Looks like you may be right. I just came across this in a product manual.

Multiple Frame Rates:
With the SRW-5800, the entire range of both interlace and progressive frame rates are available, ranging from 24-frame progressive imaging, to 60-frame interlace for high-end HDTV production applications. This includes 60P, 59.94P, 50P, 60i, 59.94i, 50i, 30PsF, 29.94PsF, 25PsF, 24PsF, and 23.98PsF.

Cost for this board was slated at 20k.

 

[Brent J. Craig]

Lots of ways to go about it... One of the easiest may be to connect the camera directly to an HDCAM deck via the HD-SDI output.

But be aware that the monitoring outputs do not reflect the full quality of the camera. They use 'quick-and-dirty' debayering and you will see much more aliasing than you would in properly processed footage.

I am shocked by the number of productions that still seem to need tape! If you ask the right questions you will find that many of them are simply used to ingesting into their editing systems from HDCAM and don't want to learn new ways of doing things. Your Red processing lab should be able to supply a ready-to-edit Avid or Final Cut project on a drive - saving everybody time and money.

 

[Jeff Kilgroe]

But be aware that the monitoring outputs do not reflect the full quality of the camera. They use 'quick-and-dirty' debayering and you will see much more aliasing than you would in properly processed footage.

Of course. But the way I look at it is people who are trying to force RED into a legacy tape workflow in this way, probably don't care about getting maximum quality out of the image. OK, that's not really true, I think there's still a lot of misconceptions out there about how all this stuff works. I still run across people who are shocked to learn that the camera doesn't record 1080p and/or think that 1080p is the maximum quality for the RED One.

I am shocked by the number of productions that still seem to need tape! If you ask the right questions you will find that many of them are simply used to ingesting into their editing systems from HDCAM and don't want to learn new ways of doing things. Your Red processing lab should be able to supply a ready-to-edit Avid or Final Cut project on a drive - saving everybody time and money.

Yep.

As for the mention above of the optional board for the HDCAM decks by John Hunt, I think he's right. I could swear that I was told that before. But I'm too lazy to look into it right now. I don't own an HDCAM deck anyway.

 

[Jeff Brue]

People who use HDCAM (not HDCAM-SR) in a workflow with red should be quartered and hanged, as it so often makes the camera look like crap when its not. Same goes for recording off the HD-SDI taps. Most of the major festivals will also accept a DCP, and to be honest I've seen digibeta project better.

 

[Greg M]

I was under the impression that the newer 5800 HDCAM decks had an optional board that accepts 4K/2K file transfers and also record 1080p, not just PsF.

Last I checked this was still not available for our 5800 SR deck.

Looks like you may be right. I just came across this in a product manual.

Multiple Frame Rates:
With the SRW-5800, the entire range of both interlace and progressive frame rates are available, ranging from 24-frame progressive imaging, to 60-frame interlace for high-end HDTV production applications. This includes 60P, 59.94P, 50P, 60i, 59.94i, 50i, 30PsF, 29.94PsF, 25PsF, 24PsF, and 23.98PsF.

Cost for this board was slated at 20k.

This isnt the network data option, just the standard interface option...but note the lack of 24P

We can get footage to HDCAM SR in realtime if the OP is still looking for this service.