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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 :)

3K RedRocket

As much as I would love to see a cheaper RR a 3K card may very well cost the same as the current version. I mean you still want all the same functionality right?
 
Terry VerHaar said:
Why would that be?

I have seen this graphic several times and wondered if it was legitimate. Seems not. Just someone taking it upon themselves to terminate a discussion?
Click to expand...

Unless it's a moderator (yellow name) or a RED team member (red name) then usually this is just somebody saying that they think the thread's run its course (ie. there's nothing left to say) and/or has gone too far off topic, and they think it's time to end the discussion.

If a thread is actually closed, generally the the mods will just post a few words of explanation and then close it. When that happens the 'Post reply' button will turn into a 'Thread Closed' one.
 
james robinson said:
I'm guessing most imac users would not be professionals, so faster render times are not going to be essential, but a bonus we will have to live without. I was just thinking with the fixed on it's way, RED will have a wider consumer market (less pro), and could profit from this avenue while simplifying post, But then again, If it can't be done, it can't be done. RED is a pro company with pro cameras so I guess pro hardware is required. (note to self- more saving required!)
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yes. and double yes.

RED please hear us. With your new class of users you should offer complete, affordably priced, solutions that includes cam, accessories and post production. We are not as proficient as some of the cinema gods that inhabit the RED world. Ease our stress and your sales will soar into new markets. The success of the lower end will help subsidize R&D for all levels. Everyone wins when the RED market expands.
 
Philip Lipetz said:
yes. and double yes.

RED please hear us. With your new class of users you should offer complete, affordably priced, solutions that includes cam, accessories and post production. We are not as proficient as some of the cinema gods that inhabit the RED world. Ease our stress and your sales will soar into new markets. The success of the lower end will help subsidize R&D for all levels. Everyone wins when the RED market expands.
Click to expand...


I am going to disagree with the crowd here.

In fact I think the entire thread is stupid. I really wonder if anyone here really gets what RED is offering.

Please don't compare Scarlet 2/3" with the likes of the EX1 because the pricing is comparable. They aren't in the same league by any stretch of the imagination. There is a huge gulf between 2/3" sensors and 1/2" and 1/3" sensors usually found near the price of Scarlet cameras.

A Scarlet fixed, a low end Mac Pro, a 17" MacBook Pro and a RED Rocket comes to less than $16000. That is for a complete solution- shoot to edit. I'd plan on adding a Matrox MXO2+MAX to the mix but that's really optional. (I am actually aiming for the MXO2 Rack+MAX, but that's another thread.)

Compare that to the next cheapest 2/3" camera- a Panasonic HPX500, which really only shoots 720p (it upscales internally to 1080, but the sensors are 960x540, which gives a max resolution (using pixel shifting) of 720p) The HPX500 retails for about $10000 without a lens at B&H, $15000 with a lens, batteries and other essentials at AbelCine. Remember this camera only offers 8 bit 4:2:2 recording.

The next competitor is the Sony XDCAM EX F350, which I think is $20000, without batteries. Of course to compete with a Scarlet, it needs an outboard 10 bit 4:2:2 recorder, which would price it closer $24000 (AJA Ki Pro)

The first feature competitive competitive cameras are the Panasonic HPX3700 and the Sony XDCAM F800, both of which are body only around $50000. The HPX3700 is also the only camera, aside from Scarlet, I've mentioned that gets you 4:4:4 recording- and that must be an outboard recorder.

So, already RED is offering a complete end to end solution for less than the "competing" cameras alone- and they are offering a recording format that is far less compressed, and has better chroma subsampling, and better color gradation than anything anywhere near its price.

So, quit being penny pinchers and realize the value of the total system you are buying. If indeed you ever do buy.

The flip side of that argument is that if you truly think $16000 is too much to spend on a camera system and editing solution, then you probably do not want a RED at all.

If you are a low end pro, and can't justify a $16000 camera system, then you probably can't spend the time that you need to get the best out of your RED footage anyway- so again an EX1 is a great bet.

In fact, I feel the need to point out that while I currently shoot a RED One, and hope to own a Scarlet S35 and two Scarlet 2/3" Cine (interchangeable lens) cameras in the future, I also plan on owning the Sony F350 I mentioned above, and an AJA KiPro. Its the right tool for certain types of work- despite the extra costs and decreased quality when compared to the Scarlet.

This is NOT a hobbyist camera, not unless you are very well off with lots of idle time. Save yourself some stress and get an EX1 or cheaper. Better yet, get a handy cam with an audio input at Best Buy and put the difference into a decent light kit (3-5 lights and some grip) and some audio gear.

All that said, I'd love to see the RED Rocket come down in price- but I expect that will take time- years. Probably it won't come down until computers start to become truly capable of handling 4K RAW footage.
 
Guys- (Excepting Albert above, who gets it)

I just performed a flawless 4K FULL RES FULL DEBAYER and transcode on RR to (Prores4444) of 280 clips/minutes of footage, in <4 Hours including transfer from RAID to portable drive. I don't know, maybe u can contract kill someone, but find a way to own the Rocket, frankly I think it should be mandatory working with RED CAMERAS qnd RAW image fiies... and will be even moreso necessary when Monstro sensors start shipping... (remember before RR, it cost $100K in SAN gear to get the same speed!)

EDIT: The guy told me prior to this experience, he spent 4 24 hours days 4K Full debayering HALF the footage above while a buddy did the same thing 24/4 days with the other half. THAT'S INSANE!

Still cant afford it? Then please send your drive to us because that job above was only @$25/hr = $100.00 - a hundred freaking bucks for Delivery quality footy debayered at 4K ~ plus shipping.

(I think some other dude is charging $100/HR.)

We will transcode your junk for $25/HR.)

Cheers and happy Shooting!
 
What Tim said...

Hey, wait a minute... I transcode for $25/hour too. WTF? Hehe... Send me a drive with REDCINE-X project and/or look files and we'll get-r-done. We also provide data backup and archival services and have insured on and off site storage for your critical bits. We can supply data backups to you for your own archives on any form of optical media, including Blu-Ray data disc, hard drives or LTO-4 media as well.

Sorry to turn this into a sales pitch, but I see too many people trying to do everything themselves and stressing about how to transcode all the footage for their short indie film when there isn't enough room in the budget for a Rocket card. If you are working daily with RED footage, you need a RED Rocket. If the RED Rocket is out of your price range, there are plenty of us out here like Tim and myself who can help you guys out.
 
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