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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...

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
Click to expand...

Huge news on this already HUGE day!!!

Honestly Jim, I was skeptical about todays announcement but wow. Just wow. Kudos to you sir. Unbelievable day for the RED team and the entire media industry.
 
Thanks Simon and Merry Adobe Gang. Glad to have you along for the ride.

Graeme
 
s816mm35mm said:
I see the 5K Epic with PL Mount being the industry standard for rental houses. After all, we are set-up with PL mount lenses and with Anamorphics being so popular (just got a set of Elites) I believe combined with the 5K will be the ultimate image experience.
Click to expand...

I think you're right. FF35 may be attractive for some, but the S35 5k is more in line with an HD broadcast frame. Also, many of the current Red One owners will have lenses set up for the smaller sensor size. The main thing to consider is if you do rent out or will be renting additional cameras to match your own, you will want a configuration that will work with/match as many other cameras in your area as possible.
 
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
Click to expand...

Now this is the tangible big news we can use TODAY!!!! (almost)
 
I've been reading these posts since red.com was really just a home page with the r1 render, I've learned so much here. Thankyou allll (key word ALL). Jim, Red team, and all posters. You started my career!! I love my r1! I just needed to share my bottled up energy! Love the news!!!!!!! My head hurts, back to bed:usd:
 
What about support on the workflow side.

Will the software manufacturers be able to keep up with Reds incredible features....will the hardware be able to decode fast enough???

Datarates are going up a lot whith 225 , so what will happen to Scratch , Quantel and others....

It's already hard right now to find the ultimate sollution.
4k output is even not an cheap option and very blury environment if you're planning to make investments on these systems.

How long would it take now they've gained some interest with Red , not being it the first time anymore and maby it would all go a little faster, production could ramp up faster because Red has learned a lot in a short time I guess...

But I'm a little concerned with the higher Resolutions and framerates, we won't be able to handle post at all... I'm not sure how Red has looked at roadmaps from other vendors, or if they hope they will catch up because they are forced to if they would gain sales??
 
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
Click to expand...


Now this is what I've been waiting for!
 
Wow, the Adobe news is really impressive as well! I think both Apple and Avid need to step it up if they don't want to be left in the dust!

Editing RED footage at 1/16th resolution on a laptop, and then switching it on-the-fly to full-res... AMAZING!!!
 
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.
 
Planet, I'm almost certain you'll be proven wrong that the S35 will be the most popular Epic. I'd bet a lot of money it will be the FF35. Why? I think everyone will want to jump on to get the two additional stops of dynamic range AND the 16 bit AD conversion. You can always crop a FF35 down for size, but you can't crop dynamic range or a better AD.

BUT, all of this is still very disappointing with respect to R1. We've got a lot money invested in those pups, figuring we'd rendered obsolescence obsolete. Apparently, we did not.

Stephen
 
Ok, So I have some questions:)

1. When they are released (unleashed), will the usual waiting list apply or will they be available off the bat to everyone. It seems you really stepped the game up, but mass delivery seems to be of the utmost importance. No one wants to be 10 000 in line with a 3 year delivery schedule. Basically what I'm asking is - are you ready for what you've unleashed?

2. Are cables needed to connect every "modular" part together? Or are there any smart connections built in the parts making cables unnecessary.

3. What about audio?

4. Are there any other differences between scarlet and epic then the specs on red.com?

5. How come the FF35 Epic doesn't have PL mount?

Oh, and by the way....
Great work guys :)
 
uhm did anyone else notice, and comment on, the fact that the Scarlet S35 ($7K) and Epic S35 ($28K) brains have the same specs and I assume the same guts.. sooooo you gotta pay $21K more just to go from 30fps to 100fps? WHAT???
 
I almost feel sorry for the other camera companies. Their way of doing business is SO antiquated and driven by MONEY FIRST and customer / product second. RED just turned that old paradigm up side down and sideways.
 
PL cine glass will not cover a FF35 sensor, hence no need for a PL mount on the FF35 brains.

Stephen
 
Can someone help me understand why the 5K Epic brain is $28,000 and the 5K Scarlet brain is $7,000?
Are you simply gaining REDCode 225 capability for $21,000?

I'm guessing not a lot of record time to CF with RC225 but who knows in a year?!

FF35 Monstro sounds great but most likely users be mounting PL lenses and cropping. But those FF AF stabilized lenses sound amazing!!
It will be interesting to see how the essentials are priced (lens mounts etc)
 
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