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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 :)

4k / 2k PRO RES / DNxHD MODULE - who wants one.

OK, but when controlling EOS lenses the Meizler Module's motor controls are unnessecary, so maybe a simpler (read less expensive) transmitter would do the trick in that case. Will this transmitter enable Redmote Pro control of EOS lenses including wireless remote focus?

Metadata in the wireless signal becomes useful with external recorders like the Pix 240, to transfer file names, trigger start/stop etc. those are my particular interests and the reasons for those questions.

Häakon said:
The Meizler module has built-in wireless control for focus/iris/zoom motors; obviously that would work hand in hand with a "REDMOTE Pro" controller that's designed specifically for controlling those things (a number of other third party controllers will work too). I'm not sure how that would carry over to a wireless video module with no motor controls (but maybe I'm misunderstanding what you're asking). I did confirm that the HDMI output of the wireless receiver base is a standard protocol (nothing proprietary about the signal), so it could be used for a video village monitor, into an external recorder for RGB recording, etc. But it's essentially just a video feed that you don't have to hard wire to the camera to get access to. That's what I'm taking away from it, anyway.
Click to expand...

Here we go:
Jarred Land said:
Can transmit overlays or clean. And is one of the pieces of REDMOTE PRO... infact we even send touchscreen commands back and forth through it... i'm sure you can figure out what that means :)

It is HDMI based... so no timecode yet. yet.
Click to expand...
 
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Scott Crawley said:
OK, but when controlling EOS lenses the Meizler Module's motor controls are unnessecary, so maybe a simpler (read less expensive) transmitter would do the trick in that case. Will this transmitter enable Redmote Pro control of EOS lenses including wireless remote focus?

Metadata in the wireless signal becomes useful with external recorders like the Pix 240, to transfer file names, trigger start/stop etc. those are my particular interests and the reasons for those questions.
Click to expand...
Ah, I see. So you're curious about non-motor control for lenses... basically whatever is built into the lens (I guess aperture and autofocus are the only variables that would be applicable?). I guess I hadn't thought of that, as you would then need a control surface of some sort to handle the adjustments and I was viewing this more as a one-way video singal transmitter. The REDMOTE Pro idea is a nice one, but we haven't heard an update on that for a long time (Jarred recently posted that it's still in development, but they're "taking the time to get it right"... but that could mean anything in terms of availability). It sounds like what you're really asking for is just a simple way to remotely adjust autofocus/iris of Canon lenses, which I would see as a totally different product than a wireless video transmitter... but I certainly wouldn't voice opposition to them building additional functionality into the thing. :P You may want to be more direct in your questions to Jarred to really get to the heart of the point that you're after, but maybe I was just misunderstanding (wouldn't be the first time).

As for the wireless metadata like file names and such, that actually makes a lot more sense as I can see people wanting to record the video signal from the transmission for various reasons. It would kinda be like taking the proxy creation functionality out of the module and letting you handle it externally in whatever way you wish. Now that I understand your question better, I'll see if I can dig up some more information from the guys in the booth.
 
Well it's beginning to look as if Redmote Pro will be a wireless touchscreen LCD monitor. They are talking about touch track focusing and the whole shabang. I hope it includes a familiar follow focus wheel as well. That's the dream.
 
You're completely over the fence then Mark, or are you still evaluating? So the Speedgrade demo was much better today?
 
Hi Makr
"NEWS FLASH>>>

I don't need this module now...

Premier / After effects / Speed Grade... All work fine with RAW files.. in real time.
Render at the end...

Good buy APPLE... Hello ADOBE..

4k PRORES MODULE ORDER canceled. :)"
if I go for premiere pro then do I need red rocket? or my PC will do the editing job?
thanks
 
Mark Toia said:
NEWS FLASH>>>

I don't need this module now...

Premier / After effects / Speed Grade... All work fine with RAW files.. in real time.
Render at the end...

Good buy APPLE... Hello ADOBE..

4k PRORES MODULE ORDER canceled. :)
Click to expand...

Yeah but broadcast clients often still want their PRORES/DNX proxies right off set, so unfortunately there is still a hot need for the module!
 
Nick Morrison said:
Yeah but broadcast clients often still want their PRORES/DNX proxies right off set, so unfortunately there is still a hot need for the module!
Click to expand...

Yes your correct.

But now that I can edit raw, stay in raw... I'm not really needing to transcode and have duplicate files now.. which I happy with.
I'm sure the first real job I do will trip me up. Hence I am dedicating 3 months of R&D to get the workflow humming... I get back to you all later about the results.

NAB show demo's never answers real world answers...

I'm 90% feeling ok about the move. I need to be 100% before I use it on a real job.
 
not transcoding and using r3d's directly for a 30 sec commercial is one thing, doing it for Television or features with vast amounts of TB's is prob not that easy:)
I think a trancode/prores/dnx module is still a good idea.
 
Mark Toia said:
NEWS FLASH>>>

I don't need this module now...

Premier / After effects / Speed Grade... All work fine with RAW files.. in real time.
Render at the end...

Good buy APPLE... Hello ADOBE..

4k PRORES MODULE ORDER canceled. :)
Click to expand...

Welcome to the team Mark - nice to have you on board ;)
 
100 % agree it is pro res that makes Alexa so great for a real mix of productions if RED can offer this module then he Epic truly would be the best camera on the market.
 
Blown up any Alexa 4444 c log footage lately?, even just a hair to rotate the frame a hair...maybe did a little stabilization? Well, To the trained eye its pretty disappointing, actually it sucks . ProRes is a distribution codec. Dont shoot with it. Out of respect to the art of cinematography stop selling people on it as viable acquisition codec. It just lowers the rental value of this great camera system.
If you want to shoot pro res get a C300.
 
Paul E. McCarthy said:
Blown up any Alexa 4444 c log footage lately?, even just a hair to rotate the frame a hair...maybe did a little stabilization? Well, To the trained eye its pretty disappointing, actually it sucks . ProRes is a distribution codec. Dont shoot with it. Out of respect to the art of cinematography stop selling people on it as viable acquisition codec. It just lowers the rental value of this great camera system.
If you want to shoot pro res get a C300.
Click to expand...


I bet it's coming... but probably not cheap and will be able to do more than anything other can do...
 
Paul E. McCarthy said:
Blown up any Alexa 4444 c log footage lately?, even just a hair to rotate the frame a hair...maybe did a little stabilization? Well, To the trained eye its pretty disappointing, actually it sucks . ProRes is a distribution codec. Dont shoot with it. Out of respect to the art of cinematography stop selling people on it as viable acquisition codec. It just lowers the rental value of this great camera system.
If you want to shoot pro res get a C300.
Click to expand...


It's not that bad -- ProRes 4444 is something like 330 Mbps I think, close to HDCAM-SR 4:2:2 (440 Mbps), which was the most common acquisition format for dramatic TV series shooting digitally (on the Genesis and F35) until the Alexa came along. I just shot a whole season of "Smash" in ProRes 4444 and color-corrected it in a D.I. suite on a 40' screen and didn't have any problems. But then, I don't do much blowing up and stabilizing. Obviously if one were going to do a lot of image resizing, a higher resolution image like from a Red would be better.
 
Paul E. McCarthy said:
Blown up any Alexa 4444 c log footage lately?, even just a hair to rotate the frame a hair...maybe did a little stabilization? Well, To the trained eye its pretty disappointing, actually it sucks . ProRes is a distribution codec. Dont shoot with it. Out of respect to the art of cinematography stop selling people on it as viable acquisition codec. It just lowers the rental value of this great camera system.
If you want to shoot pro res get a C300.
Click to expand...

The quality of blowups can vary greatly, depending on the engine being used. If you're trying to create blowups on an Avid, well then, yes, it's going to suck. If, however, you use the scaling engine in, say, Resolve or Baselight, the results will be quite a bit better. On those platforms, sizing changes up to about 10% are pretty seamless, and still acceptable even larger than that.
 
I also really still want this module, also just because of turn around times. Just want ready to go 1920x1080 files
sometimes and would be great if red would make this
module, a lot of people will still want it!
 
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