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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!

Sadly I worry we've been side-tracked here..

Just to summarize people trying to find the "gold" in this post:

RED build 30 and higher now support a CLEAN HD-SDI feed if you select it. You can also select the same format that has been in the earlier builds, so nothing is lost, only gained.

As numerous people on this thread have already posted: This option allows for a new way to deliver footage to your clients that may be unable to accept anything less than an 5 min turnaround at the end of the shoot day.

If you look at my opening post, the Nano-Flash is a good choice for fast turnaround, and one very intelligent and creative user even said you can give them "high speed" footage by simply rercording the playback. Genius.

If you are the sort of person that feels this kind of method is "beneath" RED. That's cool, don't use it. I myself expect this to be a way to convert a lot of people to the RED WAY.. The Nano Flash will calm them down, letting them know they will be able to edit their footage, but if the situation allows, I can show up a day later with "R3D developed footage, and they can see the incredible difference. The next time they use me, R3D will be an easy sell next time.

Just an idea
 
hi jay,

I too am looking forward to the P2 firestore option with the Clean HDSDI feed. I am often shooting docs. with a mix of interviews ...often hours worth...and scenics...read highest quality.... To have a varicam quality interview that I can grade easily at the camera and record on a firestore that my client can then cut away with and I can go grade scenics to my hearts delight in RCX would make both me and my clients very happy. It really seems like a no brainer win win to me...

Thanks for pointing out another piece for my RED puzzle...
 
Choice

Choice

When I wrote the RED101 DVD, I took special care to make sure I did not try to lead the viewer down "one specific path". It would have been easy to do, just show them what I do, and say this is the best way to do it.

Problem is that this is what most people were doing. I did not want to teach people my choices, I wanted to give them the information they need to make their OWN choices.

When I went through the camera builds, I wanted to show the viewer as many different configurations as possible, not just what I was used too.

I contacted Steve Gibby and brought him out to St. Louis because I felt he had a unique and useful way of working with his RED. By the time we were done doing his segment, he actually changed the way I work with mine 80% of the time now.

It's common in this industry to find people who all have strong opinions. I hope this was something I avoided in the DVD.

I know for a fact I said "of course, try this for yourself, experiment, and do what works best for you, over 10 times during the three hours of video.

Jim, Stuart, and team have given us a clean HD-SDI out, and if you think for a second they did not know what we would do with it, or what it would do for us, then you greatly under-estimate them.

All models of RED will be about choices. They will be:
Video Cameras
Digital Motion Picture Cameras
Still Cameras
Stop Motion Cameras
Effects Cameras
HDR Cameras
3D Cameras

And the list will go on and on and on. What's really exciting is that in the future people will discover uses for the cameras none of us have thought of yet, and if it's a cool use, Jim and Co will jump into it and reconfigure the camera to handle this new purpose. It was DESIGNED to do just that.

This is what RED's all about. Choice.

Jay
 
XDCAM HD module idea

XDCAM HD module idea

It would be great if a module could record to an XDCAM HD disk, for general TV HD broadcast delivery. This would allow for giving your client an archivable HD quality end product without having to pick up a memory card or hard drive from your client (TV station) later. Who wants to dump material at the end of a long day of shooting.... for corporate or TV clients? I guess Sony wouldn't allow a third party to make such a module however.
 
Ray Palin said:
It would be great if a module could record to an XDCAM HD disk, for general TV HD broadcast delivery. This would allow for giving your client an archivable HD quality end product without having to pick up a memory card or hard drive from your client (TV station) later. Who wants to dump material at the end of a long day of shooting.... for corporate or TV clients? I guess Sony wouldn't allow a third party to make such a module however.
Click to expand...

Ray,

I think that's exactly what the Nano-Flash is. The Sony XDCam codec hardwired on an ASIC chip

Jay
 
XDCAM HD disk

XDCAM HD disk

Hi Jay,

Yes, except it's recorded to a CF card which is currently more expensive than an XDCam disk. TV stations here just want an XDCam disk or tape. They're too busy to look after us freelancers by dumping from our hard drives or CF cards, which you still have to get back to save money, unless you're charging them for that.
 
Eirik Tyrihjel said:
I think this will be very interesting for use whenever we are shooting live concerts, now we can provide a feed via a live mixer to the big screens beside the stage
Click to expand...

Spot on Eirik.

I had this very discussion with Jim Hare about 2 months ago. My client wanted to shoot a live multi-cam concert DVD, as they often do, and I suggested we do it on RED for the obvious quality benefits and future proofing the product. The catch was I knew they would already be hiring in a 6 camera HD switch for their big screens in the auditorium. I couldn't squeeze the 2 sets of cameras and operators into the budget. It was just not possible, especially as the shoot was over 4 days and I felt the strength of my proposal and point of difference was that I was advocating the RED path as opposed to a stock 1080/50i recording. So I asked Jim if we could use the HD-SDI output to feed the IMAG switch, thereby replacing the need for the traditional live switch setup and saving a lot of money in ISO decks, preview monitors, CCU etc, etc.. The answer was, of course, yes.

Unfortunately the client changed their mind for who knows what reasons but it's a distinct possibility for next year. At the very least it would have been 13 RED One's...maybe next year we'll have Scarlets and Epics in the mix.

As for fast turnaround rushes, there's the Aja Ki Pro box.
 
Ray Palin said:
Hi Jay,

Yes, except it's recorded to a CF card which is currently more expensive than an XDCam disk.
Click to expand...

Only at the large sizes. Why not buy smaller CF cards and use XDCAM Transfer to write the video back to discs to hand over?
 
Cail Young said:
Only at the large sizes. Why not buy smaller CF cards and use XDCAM Transfer to write the video back to discs to hand over?
Click to expand...

In the field, for TV stations using XDCam, it's just faster to hand over to them a disk and keep shooting. Also means you don't have to hang around afterwards to do the transfers, depending on how much material you've shot. I believe writing to XDCam is about two times real time, depending on what deck you're using.
 
RED1 with HDSDI clean feed out connected to AJA Ki Pro is one of the fastest from acquisition to delivery solutions:

"Ki Pro in the field

Ki Pro is portable and rugged; designed for a variety of production environments.
Powered through an industry standard 4-pin XLR, you have flexible AC and battery options.
An optional exo-skeleton can be used with your camera and tripod-complete with sliding baseplate and slots for 15mm rods.


Ki Pro and Final Cut Studio

From acquisition to delivery, use the codec at the core of Apple's Final Cut Studio suite of applications.
Ki Pro supports an Apple file-based workflow by recording standard Apple ProRes 422 QuickTime files on industry standard media.
Record to removable 34mm ExpressCards, or a removable HDD Storage Module containing a 250GB hard disk drive (standard)
or an optional SSD Storage Module with a solid state disk. When removed, the Storage Module functions as a standard bus-powered FireWire 800 drive.
If bus power is not available, the Storage Module can be powered from an AC power adapter (supplied)."

acquire_media_edit_lg.jpg

connector_side_lg.jpg


LINK>>>
 
Convergent Design Flash XDR

Convergent Design Flash XDR

It's late and I know that I may be repeating what someone else has asked or said, so that out of the way.......

How about the Convergent Design Flash XDR?

Supports HD-SDI and SD-SDI inputs - Works with most any camera with HD/SD-SDI outputs
Long, Uninterrupted Recording Times - 4 CompactFlash Card Slots

Records in:
Native Quicktime for Final Cut Pro
Native MXF for Avid, Sony Vegas, Edius, others
MPG Format in SD for quick same day creation of DVD's
MPG Format in HD - Realtime Rendering of Blu-Ray disks
No Mandatory Transcoding - Drag and Drop Editing

Solid-State - No Moving Parts - No Fans - No Noise - Field Proven
Rugged - Withstands Extreme Temperatures - High Humidity - High Altitudes - High Vibration - High G-Forces
Camera Mountable - under 2.7 Pounds - 1/4" x 20 Tripod Thread -
16 Watts maximum, Typically 13 Watts
Wide Voltage Range - 6 to 20 Volts DC - Uses most any battery type - International AC Power Supply included

Supports Timecode and Audio embedded in HD/SD-SDI
Includes BNC connector for external timecode input
Supports Analog Audio, 24-Bit/48K, with up to 65 dB of gain via balanced XLR audio inputs, mic/line
All audio recorded at 24-Bit/48K Uncompressed
Headphone and XLR Audio outputs

4 CompactFlash card slots - Records seamlessly from one card to the next
The image quality produced by the Flash XDR is exactly the same as the nanoFlash.​

Here is an intersting link regarding multi cameras into the Flash XDR: http://blog.abelcine.com/tag/convergent-design/

This is kinda old news but thought it may be worth the mention.
 
Jay, this totally works. Just did a test at the office here. My friend has a Panasonic deck that we recorded onto at 720p. We then took the tape and imported right into their Avid. With the depth of field characteristics, it looks much better than my HVX200 or their SDX900.
For a client that wants a tape at the end of the day, for say some interviews, this is great. Way better, although a bit bulkier, than my HVX or an ENG camera.

I'm not sure what all the fuss is about and why people are getting their panties all in a knot, but this is just "another" way to use our RED1 cameras. If I'm not shooting a feature film and I have a quick 2 day pharmaceutical job that I can get a rental on the RED with, I'll be thrilled. The HVX paid for itself 4 years ago. If I can start making money with the RED this way, why not.

Works great.

I'll post a QT from their Avid in a few...
 
No, I didn't get a chance to. It was a really quick test...
I want to try and find an HD recorder and do the test again.
I was able to load it into the Avid with no problems. My friend kicked out a quick time that I then was able to load into FCP as well.
It seems like this is a pretty cool way to use the camera. That is if you're client doesn't want the RED files and only need a tape at the end of the day.
 
My RED has booked three jobs since I have started using this new process. Here's a screen cap from a job 2 days ago (This is from the Nano Flash 100Mbits per second)

Something to note here: The camera is 6ft from talent, and the tree and medical device are less than 2 feet behind her. The lens is a 85mm L series Canon.

So we can get this look in a 10x10 ft room...

The profitabilty of my RED is going through the roof.. I am a happy camper!

Gotta say, this makes me wish for a feature with the new Epic, I wish you could select you output on HD-SDI, 720 or 1080..

Oh well.. I doubt that will happen.


I am a happy shooter.

Jay

:smilielol5:
 

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I'm not sure what all the fuss is about and why people are getting their panties all in a knot, but this is just "another" way to use our RED1 cameras. If I'm not shooting a feature film and I have a quick 2 day pharmaceutical job that I can get a rental on the RED with, I'll be thrilled. The HVX paid for itself 4 years ago. If I can start making money with the RED this way, why not.
Click to expand...

I believe the only concern from Red and others is that footage acquired from this time saving workflow may be judged unfairly by people who don't have a full understanding of the process. Jay has made it clear from the beginning of the thread that the quality is inferior. Red has worked tirelessly to produce a workflow that brings out the best in this camera. Anything less is unsettling to Red and many Red owners who fear that the image could be tarnished by this more convenient workflow. I can see their concern.

That being said, I am grateful for this option.
 
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