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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 :)

November 30th Announcement Feedback

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Billy Gedney said:
Good call. That's a nice lens and I remember thinking something similar about how I'd like just the lens to myself- it looks like it is a pretty sweet lens.
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is there another lens you can think of that would fill the same purpose?

i guess i'm looking for the best of both worlds.
 
mike machian said:
is there another lens you can think of that would fill the same purpose?

i guess i'm looking for the best of both worlds.
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That is part of the reason I've made my mind up about either buying an S35 or FF35. That is such a specialized lens because of the size of the sensor. I'm actually thinking about a fixed Scarlet and a S35/FF35 Scarlet. I want to be able to but really nice glass and shoot both video and photos through it. Do the math on that $4,000 package. How much are you actually paying for the camera? You can't pass that up...

$2800 for the Camera and RED VOLT. I wasn't sure if thats the $1250 battery module or not. If it is the camera is $1550. I'll use all of those accessories down the road anyway on the S35/FF35 camera.

Seems like a no brainer to me.
 
Billy Gedney said:
I have a question... Why does the RED RAY Pro have 12 channels of digital audio out?

This this hint that there is a 12 channel input method somehow?
Click to expand...

If I'm correct the future standard of surround audio is 10.2 This is likely why.
 
Feature request?! ;) ui skin / themeable

Feature request?! ;) ui skin / themeable

Stuart English said:
Great idea. Ideas and comments are welcome.

And to the question: can you create and save custom layouts?.....

Yes.
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Awesome news!
I second the request for customizable UIs and even more in a way
that you maybe could produce your own skins / icons.
I'm a designer myself and personally don't care too much for icons in UIs that are not easily and quickly readable (for me these are eg the battery and drivespace icons). Ok I could change these to text only but I do prefer icons.
Simplification is needed here in my opinion.
I would gladly produce my own set of icons if they were uploadable. Or make suggestions for the current UI ;)

well Jim jarred graeme stuart and all of you other known and unknown brains and hands behind the new big "scam": I bow before you and will continue to anxiously await the moment when I can spend my money on the most beautiful toy soon to be released.
Thanks for changing the world!

p/
 
Dual Core iMac

Dual Core iMac

Jimmy Odom said:
Has anyone found out, or even hypothesized if the new 27" i7 iMac can handle Scarlet footage.

I ask because I'm seriously considering subsidizing the purchase of my Scarlet by downgrading my MacPro to the iMac.

Not ideal but would enable me to get the Scarlet and still be able to somewhat handle the RED footage.

Anyone know, or am I in limbo?
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I don't have direct experience with RED footage, but since I actually own the machine, I thought I'd chime in.

Bought it on Black Friday from the local Apple Store. Since I don't like mail order I got the slower i5, not the i7. Put in a total of 8GB for $200, which I highly recommend. You can avoid most swapping with 8GB, at least if you restart Safari periodically. (Safari has been running for the full 6.5 days I've owned the machine and has ballooned to a ridiculous 1.26GB!)

If people are processing RED footage on Macbook Pros today the iMac would make them very happy. I'm in the Scarlet market personally, so unfortunately I have yet to process RED footage, but it processed AVCHD footage in about an hour for 90 minutes of footage. I was able to run other software, including Aperture, normally while it was going, and as I remember my 2.5ghz Macbook Pro took about triple real time or more and bogged down the system completely.

The only reason I can think of not to get the iMac instead of the Mac Pro is if you want to use RED Rocket. I think RED Rocket requires the direct high speed access to the machine that can only happen when it's connected directly through a slot. If you can't afford RED Rocket I see no reason not to get the iMac.

The reviews that did formal benchmarks show that it's very close in speed to the current Mac Pro, if not a little faster.

My review of the iMac is here:
http://www.epinions.com/review/Appl...er_Z0GF0005F_Mac_Desktop/content_493299863172

Hope that helps. I really love the new machine - it's the best computer I've ever owned. Definitely worth considering, at least until they speed up Mac Pros again!

D
 
Oh and another request which probably already has been talked thought about ( if so I'll just second the request ;) )
hardwiring not only the redmote as mentioned before but have an extension cable for the module connector might be great if not already planned to be able to put away modules batteries and what have you and still be able to shoot lightweight / handheld.

Sigh. It's waiting for (mysterium)Xmas allover again. And I thought that feeling of counting days would leave you with adulthood :D

/p
 
I think it's far too early to buy a computer to use with your Scarlet since the cameras wont hit the market for another 4-9 months. In that time there will more than likely be another round of computer releases that will be faster and drive down the price of what's currently out there. When you get the camera you can chose to get the latest and greatest computer or if you aren't afraid to buy one model revision down from the newest you can save some money by buying the exact same machine you were going to buy today for a discounted price then.
 
Ethan Cooper said:
I think it's far too early to buy a computer to use with your Scarlet since the cameras wont hit the market for another 4-9 months. In that time there will more than likely be another round of computer releases that will be faster and drive down the price of what's currently out there. When you get the camera you can chose to get the latest and greatest computer or if you aren't afraid to buy one model revision down from the newest you can save some money by buying the exact same machine you were going to buy today for a discounted price then.
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That is a really good analysis. I think we lose track of the timeframes while we are looking at the forum and the little child in us all starts to kick into high gear.
 
RED RAY audio

RED RAY audio

I have a question... Why does the RED RAY Pro have 12 channels of digital audio out?
Click to expand...

For similar reasons that the HDCAM SR mastering format supports 12 channels of audio.

This this hint that there is a 12 channel input method somehow?
Click to expand...

By definition if you can get 12 channels out, yes there is a way to get 12 channels in.
 
Billy Gedney said:
That is a really good analysis. I think we lose track of the timeframes while we are looking at the forum and the little child in us all starts to kick into high gear.
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I agree with this. Buy the minute before you need it and not necessarily the top end model as they are at a premium. You don't need Apple ram either the third part ram is fine but Ill probably get shot for saying so....
 
Dave Blackham said:
I agree with this. Buy the minute before you need it and not necessarily the top end model as they are at a premium. You don't need Apple ram either the third part ram is fine but Ill probably get shot for saying so....
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You wont get shot by me, but I'm a cheapskate. Apple ram is way way too expensive.
 
Back on topic... turret mounts.
It's probably too late to put one on the body itself, but could one be incorporated into a handle? Are the tolerances for attachments tight enough? I'm thinking like the side handle.
 
Michael Olsen said:
This is something I've definitely considered myself. I think it basically comes down to absorbed costs.

Say I already own and use a set of lenses for a Canon SLR: 11-16mm Tokina, 30mm f/1.4, 50mm f/1.4. Fairly standard lenses that offer pretty good image quality (or "great" depending on who you ask). That cost (~$2000) is already paid and recouped by jobs using the lenses and another camera. In order for me to use them on the Scarlet, it doesn't really cost anything since I already own them and they have paid their way!

So for me to have three fairly good lenses to use on the 2/3" Scarlet, I'd only have to pay for the adapter - $500. $500 to use those lenses, as well as any others I'd care to slap on is a great deal for people who have invested already in Canon glass. Of course, there is the need for wider focal lengths, where I would certainly buy the RMPs - but those would need to be purchased anyway, so they don't really add any disadvantage to the overall cost.

If the 2/3" is to be an individuals only camera for some significant period of time, however, I feel they would be remiss to pass up the RMP for something else. Similarly, if I really wanted a cohesive and extremely high quality RED setup, I'd definitely go with the RMPs.

Using Canon (or any other lenses) doesn't necessitate a mistake, so long as one isn't going out and purchasing a set of these lenses brand new for the Scarlet, in which case they would be better served by the RMPs. If someone already has a set of Canon lenses they can create a mixed case of lenses for Scarlet for less than a full set of RMPs.
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To be devil's advocate Michael, wouldn't it be better to get the fixed lens since it is essentially "free" when compared with the interchangeable version and buying a Canon mount? You have really nice glass for your Canon but you are losing 75% of what you see through your viewfinder on your DSLR and those wide lenses were so expensive in the first place because they are so awesomely wide---I guess you retain those great F-Stops though... Maybe save up more and invest in the S35 so you aren't sacrificing so much FOV---if you have $1000s invested in glass you might as well go the extra mile IMO or settle on the fixed until you can afford the more expensive camera (that's what I'm doing) if you want to use your Canon-mount lenses.

Someone on this board pointed me the this Wiki because I am by no means an expert on lenses or sensors:

http://en.wikipedia.org/wiki/File:Full-frame_vs_APS-C.svg

It's an example of APS-C sensor crop (which is a larger sensor than the 2/3 Scarlet) to give you an idea of what you are losing in FOV.

Would love to hear anyone else's POV on this matter...
 
Billy Gedney said:
I have a question... Why does the RED RAY Pro have 12 channels of digital audio out?

This this hint that there is a 12 channel input method somehow?
Click to expand...

I think the audio is encoded into the RRD file. They may make a piece of hardware that has 12 discreet audio inputs, but I would be inclined to think this would be a software encoder. The great thing about tapeless formats is that you are not necessarily required to "lay back" anymore. Think Apple Compressor: one video file, six audio files and blam encoded video with surround sound. Or maybe it's just my fascination with getting rid of cables :smiley:

As for the question about need:

If you were delivering to a distributor you could have 6 discreet 5.1 tracks and 6 discreet 5.1 M&E tracks.

-or-

Eight discreet 7.1 tracks and four LCRS tracks

-or-

Two sets of 5.1 tracks: one in english, one in french.

The possibilities are endless. There can never be enough audio tracks on a delivery/exhibition format in my opinion because for every one version of picture there are (in most instances) at least three different audio formats that must be delivered alongside it. One master is much easier to keep track of than multiple masters.
 
Stuart English said:
For similar reasons that the HDCAM SR mastering format supports 12 channels of audio.

By definition if you can get 12 channels out, yes there is a way to get 12 channels in.
Click to expand...

I meant is there a way to capture 12 channels of audio with some red manufactured camera. My bad..
 
Todd M. said:
I think the audio is encoded into the RRD file. They may make a piece of hardware that has 12 discreet audio inputs, but I would be inclined to think this would be a software encoder. The great thing about tapeless formats is that you are not necessarily required to "lay back" anymore. Think Apple Compressor: one video file, six audio files and blam encoded video with surround sound. Or maybe it's just my fascination with getting rid of cables :smiley:

As for the question about need:

If you were delivering to a distributor you could have 6 discreet 5.1 tracks and 6 discreet 5.1 M&E tracks.

-or-

Eight discreet 7.1 tracks and four LCRS tracks

-or-

Two sets of 5.1 tracks: one in english, one in french.

The possibilities are endless. There can never be enough audio tracks on a delivery/exhibition format in my opinion because for every one version of picture there are (in most instances) at least three different audio formats that must be delivered alongside it. One master is much easier to keep track of than multiple masters.
Click to expand...

No- I see and love the application. I do most of my work where I need multiple audio inputs and the more I have, the less gear I have to rent. My long term hope was a multi channel I/O module where I could run like 8 XLRs in tandem with an i/o module and wham bam thank you mam- you've got 12 channels.
 
Ethan Cooper said:
Back on topic... turret mounts.
It's probably too late to put one on the body itself, but could one be incorporated into a handle? Are the tolerances for attachments tight enough? I'm thinking like the side handle.
Click to expand...

A turret mount could simply replace the lens mount, whether it be mini PL, Canon, Nikon, etc. If the mount is strong enough to support the 18-85mm,
(9.9 pounds) then it can support three mini primes! And yes, the 18-85 should be supported by rails... but you get the point.

Red builds their cameras and lens mounts like tanks, so they should be able to handle a turret!

I'm still just digging the turret concept on scarlet. I think it would make the camera look bad-ass and retro...
Now if they could just figure out a use for a hand crank on the side...
 
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