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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 :)

Amazing NEW Way to use RED!

That's what I thought.

Perhaps Sanjin was thinking RED709? I dunno.. What I do know is that he's a nice fellow who really loves his RED.. That's what matters to me!

Jay
 
By the way.. If you are thinking of picking up a Nano-Flash.. Be sure to speak to Steve Cohen at Abel Cine.. He'll take care of you, and he's already aware of what you might use it for!

Jay
 
Torrie said:
SMPTE 292 is defined as 720P/1080i.

SMPTE 372 is Dual Link HD-SDI which is 1080P, as is SMPTE 424M or 3G SDI.
Click to expand...

REC709 is the defined broadcast standard color space for HD regardless of signal format.
 
Stuart English said:
Explain please Sanjin ?
Click to expand...

Mark L. Pederson said:
Best Sanjin post ever.
Click to expand...

Jay A. Kelley said:
I am confused.. I thought in order to output to HD-SDI you HAD to BE in SMPTE standards..

Or am I stating the obvious
Jay
Click to expand...

Torrie said:
SMPTE 292 is defined as 720P/1080i.

SMPTE 372 is Dual Link HD-SDI which is 1080P, as is SMPTE 424M or 3G SDI.
Click to expand...

Jay A. Kelley said:
That's what I thought.

Perhaps Sanjin was thinking RED709? I dunno.. What I do know is that he's a nice fellow who really loves his RED.. That's what matters to me!

Jay
Click to expand...

Hi guys,

I'm back now.

My question about SMPTE HD-SDI standard(s) was based upon the image I have got captured in FCP7 with HDSDI out 720p from R1-M using Kona3 card

that HAS a black transparent frame (the same you can see at HDSDI monitoring).

What does it mean?

Captured movie has 720p resolution but the clean image has actually about 1173x664 px of resolution (if my crop was close to OK size).

Have a look below:

RCX_profile_Kona3_HDSDI_01.jpg

Actual captured image resolution at 720p or 1280x720.

RCX_profile_Kona3_HDSDI_02.jpg

Cropped usable "clean" image at 1173x664 px.

Download 720p HDSDI captured short test @ Apple ProRes 422 (proxy) compression >>>

Also I will try to "investigate" all those SMPTE standards to have a look what is going on here.

Corrections and comments are welcome and appreciate.
 
Sanjin Jukic said:
that HAS a black transparent frame (the same you can see at HDSDI monitoring).

What does it mean?
Click to expand...

It's the "look-around area". You can change the opacity of that area - but - last time I checked - the RED ONE does not allow you to output ONLY the clean 16x9 images that it records. You can get a clean 16x9 - but it actually includes the "look-around area".

I suspect this will change on EPIC.
 
Stuart English said:
Correct on both counts Mark.
Click to expand...
will this also be the case on Scarlet?

scarlet 2/3" looks to be the perfect live environment camera for us...as long as it has broadcast spec HD-SDI output that we can feed into our switcher...
 
Mark L. Pederson said:
It's the "look-around area". You can change the opacity of that area - but - last time I checked - the RED ONE does not allow you to output ONLY the clean 16x9 images that it records. You can get a clean 16x9 - but it actually includes the "look-around area".

I suspect this will change on EPIC.
Click to expand...

Mark,

I understand that is the "look-around area" but the "look-around area" of what (?) if you are recording the image.

There should not be any "look-around area", any image size magnification lines/frames or what-so-ever when you record the image.

Anyway you don't get that "monitoring lines/frames" when you record with R3D at diverse formats.

Why now when you want to record HD-SDI "suddenly" you have to deal with the "look-around area" (?).

The image should be just a clean feed out but not "leftovers" from the monitoring image area.

This must be done on R1 ASAP.

No need to wait for EPIC and get this simple but very important feature.

R1-M-X is still better cine digital acquisition system than any of competitors A, B, C, D, E, F, ... etc.

This counts on a time period before and after NAB 2010.
 
Sanjin Jukic said:
Why now when you want to record HD-SDI "suddenly" you have to deal with the "look-around area" (?).

The image should be just a clean feed out but not "leftovers" from the monitoring image area.

This must be done on R1 ASAP.

No need to wait for EPIC and get this simple but very important feature.

R1-M-X is still better cine digital camera acquisition system than any of competitors A, B, C, D, E, F, ... etc.
Click to expand...

Sanjin -

You don't "suddenly" have to deal with it - it's the way the HD-SDI comes out the RED. That's what comes out.

I strongly suspect it's a hardware limitation (based on scaling) and if it could be done we would already have it. That being said, I've been wrong before - I didn't think we would ever get 1:1 pixel zoom back in the day - and we got it.
 
This idea really is off the wall,

I am really sorry guys but why are you guys trying to get the RED to be a real time broadcast camera when it was not design as one.

This whole idea is like try to hack a video assist system on a film camera and using it for broadcast and not put any film in the camera at all.

LOL

Come on guys, How many of you would use a film camera in that way?

There are many tools in this tool box.

Please use the right one for the right job at the right time.

My ten cents.

Michael T.

P. S. Mark... All due respects. The look around is important to a lot of us. More than people who would use this camera in a broadcast studio.

It's the "look-around area". You can change the opacity of that area - but - last time I checked - the RED ONE does not allow you to output ONLY the clean 16x9 images that it records. You can get a clean 16x9 - but it actually includes the "look-around area".

I suspect this will change on EPIC.
Click to expand...
 
Michael T. said:
P. S. Mark... All due respects. The look around is important to a lot of us. More than people who would use this camera in a broadcast studio.
Click to expand...

Michael - it's important to me too!

But for EPIC - I want the option to have it or NOT.

Trust me when I tell you that EPIC will be widely deployed to shoot concerts and sporting events (boxing, etc.) where a LIVE FEED is vital - then mastering in a higher quality - higher resolution for distribution.
 
Mark L. Pederson said:
Michael - it's important to me too!

But for EPIC - I want the option to have it or NOT.

Trust me when I tell you that EPIC will be widely deployed to shoot concerts and sporting events (boxing, etc.) where a LIVE FEED is vital - then mastering in a higher quality - higher resolution for distribution.
Click to expand...

I trust you... -:)

Having a deal with a boxing venue Mark?
:Angel_anim:
 
Mark L. Pederson said:
Sanjin -

You don't "suddenly" have to deal with it - it's the way the HD-SDI comes out the RED. That's what comes out.

I strongly suspect it's a hardware limitation (based on scaling) and if it could be done we would already have it. That being said, I've been wrong before - I didn't think we would ever get 1:1 pixel zoom back in the day - and we got it.
Click to expand...

Mark,

I'm not an engineer but as a user I think that it should be made as a clean HD-SDI feed.

Before that it was X in the middle and time code but now it was cleaned.

Have a look below:

False_color_f_stop_01A.jpg

B20 false color (zoom magnified in R1) captured (as H.264) with HD-SDI out (preview) with AJA hi5 3G HD-SDI to HDMI
then to BM Intensity Pro HDMI capture card on the same MacPro that now has AJA Kona3 pulled in.

Download H264 HDSDI captured test clip >>>

Then we got the "look-around area" !!!???

RCX_profile_Kona3_HDSDI_01.jpg

New HD-SDI feed @ B30 with the "look-around area".

Stuart, please clean it up as soon as you can !!!!
 
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