Amazing NEW Way to use RED!

[Jacek Zakowicz]

red advantage?

red advantage?

I'm looking at testing the KiPro with this next week. This could be excellent for some of my clients.

I'm curious as for the obvious:
Why instead of spending $3K + on the kipro not just buy EX1?
You'll get whole another camera, 1080p instead of 720, workable codec, smaller sensor a lot more suitable for corporate jobs.
This is a misuse of high end equipment with iffy workarounds...
just sayin'...:emote_couch:

 

[Ken Willinger]

Already have access to the KiPro so it's not costing me anything. And though I actually use an EX3 with an adapter for a 2/3rd inch lens (Fujinon 13X4.5) on a PBS kids show, it doen't look as good as a true 2/3" camera and I'm imagining that the Red with primes going into the KiPro will still look better than the EX3 set up I'm using.

 

[Jacek Zakowicz]

would love to see results

would love to see results

Please keep us posted here. I'm very curious. I've seen shootouts between
EX3 anf F23 and , as long as there was half decent lighting, there was very hard to tell- they intercut very nicely.

 

[Sanjin Jukic]

I'm curious as for the obvious:
Why instead of spending $3K + on the kipro not just buy EX1?
You'll get whole another camera, 1080p instead of 720, workable codec, smaller sensor a lot more suitable for corporate jobs.
This is a misuse of high end equipment with iffy workarounds...
just sayin'...:emote_couch:

RED1 Dual HD-SDI Output to AJA Kona3(Mac) or AJA Xena3(PC) because there are one of the highest capture cards in the industry.

1080p 4:4:4 10bit RGB is very popular format especially in the broadcast field for (live) keying, VFX, etc...

RED1 should be able get output to STwo highend FlashMag OB-1 that has HD-SDI x 4 SMPTE 292 Dual SMPTE 372 LTC -Analog SMPTE12M inputs.

RED1 should get it finally today and we should not wait for Epic to get that a such important thing for broadcast customers.

This test below I was looking for to get out as 1080p 4:4:4 10bit RGB but didn't.

Also could be AJA software bug (!?).

Shot on R1 with Leica Summicron-M 50mm f/2.0 @ f/5.6, 320 ISO, 1/48 shutter, 23.98 fps.

Download 4K jpg >>>

The smallest but probably the best lens ever made: Leica Summicron-M 50mm f/2.0 on R1.

 

[Jay A. Kelley]

Jacek,
You are asking a question I have spent a lot of time and research on. "Why not just get an EX1 or EX3 for that matter?" Here's my top three:

1/2" chip vs 35mm chip (I.E. an interview on RED with fantastic DoF in a 10x10 room. Vs a 10x25 room to get the same look from the EX1/3

8 bit 4:2:0 at either 25mbits or 35mbits (EX1/3) vs. 4:2:2 at any bit rate up to 280Mbits. Does that matter? Do an on location green screen and you bet it matters!

Professional / vs. Prosumer

As far as overkill goes.. I don't think so. Besides most of the pro features on RED are designed to make the SHOOTER's life easier, not the clients. I don't mind spending money on me!

When Epic comes out, I will be able to do even more.. But until then, this is a great solution.

Jay

 

[Jason Osterday]

We have been using the Ki Pro for a lot of different scenarios with the RED:
-Aerials (small deck for playback and client reference. You can't put a 10:1 angenieux on the front of an EX3 for that kind of work)
-Instant playback reference for steadicam, jib, or location work (sometimes with wireless feed) because the transport controls are 10x faster on the AJA and you can send it off to playback tent and let them review a good HD ref of the R3d.
-An up/down/cross converter to multiple different formats when mini converters don't do the trick. This is handy for studio work where everyone wants a different feed.
-Pulling a reference key right out of any prores based workflow and patching that footage out to a different city for review. This is great when R3D's can't be transferred and transcoded fast enough on the fly for an out of town production company (communicating online) to reference their FX work.

We're hoping to have our Ki Pro tests finished early next week with B30. That includes audio at 23.98 and 29.97. If flags can be supported by AJA in an upcoming build, this will be a game changer. We have high hopes for aerials, car rigs, and underwater work where the bare body and lens can be tethered back to the deck and record for much longer periods than 16gb cards allow.

 

[Jacek Zakowicz]

other factors

other factors

Jacek,
You are asking a question I have spent a lot of time and research on. "Why not just get an EX1 or EX3 for that matter?" Here's my top three:

1/2" chip vs 35mm chip (I.E. an interview on RED with fantastic DoF in a 10x10 room. Vs a 10x25 room to get the same look from the EX1/3

8 bit 4:2:0 at either 25mbits or 35mbits (EX1/3) vs. 4:2:2 at any bit rate up to 280Mbits. Does that matter? Do an on location green screen and you bet it matters!

Professional / vs. Prosumer

As far as overkill goes.. I don't think so. Besides most of the pro features on RED are designed to make the SHOOTER's life easier, not the clients. I don't mind spending money on me!

When Epic comes out, I will be able to do even more.. But until then, this is a great solution.

Jay

That's all good but how does the 1080p (EX)offset the 720p(R1)
Even with higher bit rates- aren't we here behind the 4K->2k looks better than native approach? You know the old computer GIGO saying? is the video assist real time signal out of the R1 better than final product of the others?
We may be harming the R1s potential here- people will assume that this is the best it can do which is far from the truth..
how about things like size, weight, form factor, power draw?
I know you've researched this so please give your thoughts here for our benefit.

 

[Jay A. Kelley]

That's all good but how does the 1080p (EX)offset the 720p(R1)
Even with higher bit rates- aren't we here behind the 4K->2k looks better than native approach? You know the old computer GIGO saying? is the video assist real time signal out of the R1 better than final product of the others?
We may be harming the R1s potential here- people will assume that this is the best it can do which is far from the truth..
how about things like size, weight, form factor, power draw?
I know you've researched this so please give your thoughts here for our benefit.

Happy too.

First off I think we need to lose this theory of "If someone sees bad RED material, it will hurt the camera. With over 5000 REDs in the wild, and a good portion of them being rented by God knows who.. I think it's safe to assume there is already a decent amount of "bad" RED footage out there.

If the evaluator in question cannot do enough homework to really explore RED and it's potential, I mean ALL it's potential, then it won't matter what they see. In other words, you can't fix stupid.

I agree with you about the 4k - 2k belief.. But I do not treat that as a religion. Simply a concept I happen to agree with. Bottom line is that in many states in our country (And other countries I would imagine) the Mid-Lower budget client with their own editor out-numbers the high end client almost 20:1, and RED gets too little of this business for my taste.

It's clear from RED's approach, that they are shooting for volume.. Not a nitch market like ARRI. To make this successful, RED will have to succeed in a larger segment of the industry.

Like it or not, a major part of that industry is populated by those need who to walk away with their footage in a ready-to-edit format at the end of the shoot day (No plugins no trans coding). I want that business, and I don't want to buy another camera to have it (When possible). The more I can focus my revenue on one camera system the more aggressive I can be with it's upgrades, additions, etc.

Are other cameras easier? Yes.. In the case of an EX3 it also costs $350 - $500 per day to rent. If I can sell the client on a RED/nanoflash combo, they get better looking footage (which secures me more work with them) and I get $350 - $500 in my pocket for not having to rent or buy a camera that's basically inferior to my RED anyway.

It's all about the money.

Jay