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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 :)

digitizing directly in to avid from camera

L

lib

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I was wondering if anyone had tried to playback the cameras 1080p signal and digitize directly in to a avid adrenline hd. In theory is this possible?
 
Kinda pointless though. This is a 4K camera. If you just want 1080p get a 1080p camera, then you save a *lot* of money and don't have to tether your bulky Avid to a camera.

noah
 
David Mullen ASC said:
What 1080P signal? The camera has a live 720P signal for monitoring (4:2:2 8-bit I believe). Are you talking about a 1080P quicktime proxy?
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I think he is refering to the ability of playback only in 1080p, which was introduced in build 16.

lib said:
I was wondering if anyone had tried to playback the cameras 1080p signal and digitize directly in to a avid adrenline hd. In theory is this possible?
Click to expand...

I believe the camera outputs are mostly designed for real-time monitoring, not mastering. The outputs are not of the full quality that you can expect from processing raw files in post. I know, RedCine is still in early beta, but it must be possible to use it effectively to obtain clean 1080p files, which can be then ingested to Avid. Such approach would also give you the ability to apply the desired primary colour correction on raw data, which otherwise would be lost.
 
Pawel Achtel said:
I think he is refering to the ability of playback only in 1080p, which was introduced in build 16.
Click to expand...

yes, at least i think so. PLAYBACK output is 1080p. so you can connect your avid with HD board, fcp with HD card, or whatever compatible to record 1080p - but this works just in RED's PLAYBACK mode.

filip
 
NoahK said:
Kinda pointless though. This is a 4K camera. If you just want 1080p get a 1080p camera, then you save a *lot* of money and don't have to tether your bulky Avid to a camera.

noah
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So you'll never use your camera for HD projects ?
And anyone who "only" needs an HD master shouldn't use this camera ?
Wow...:)
 
Slinnn said:
So you'll never use your camera for HD projects ?
And anyone who "only" needs an HD master shouldn't use this camera ?
Wow...:)
Click to expand...

I think the point he was trying to make was not so much in terms of the resolution (which HD has heaps of), but in terms of colour compression. If you tap off the preview HD-SDI, your HD signal goes through colour matrix, it is then converted to 10-bit and sampled at 4:2:2. This is OK for viewing/monitoring but not the best solution for mastering your footage.
 
Bulky Avid? I'm sure you've seen the video village on a set.. no bulk there!

Could be interesting for any system needing quick turnaround proxies for editorial as long as timecode was provided as part of the HD-SDI system. A merge could then be done of the metadata as processed by REDrushes to allow either a signal or file based conform downstream. It is something I have been looking into for time sensitive, lots of dailies types productions.

Michael
 
HD-SDI Outputs

HD-SDI Outputs

Horses for courses guys.

I think if any other manufacturer offered a camera-recorded, 35 mm optics DOF, 10 bit 4:2:2 full bandwidth 1920 x 1080 progressive video signal via HD-SDI directly to an Avid finishing system, they'd have people biting their hands off!

The 720p video tap BTW is also 10 bit 4:2:2.
 
MichaelP said:
Bulky Avid? I'm sure you've seen the video village on a set.. no bulk there!

Could be interesting for any system needing quick turnaround proxies for editorial as long as timecode was provided as part of the HD-SDI system. A merge could then be done of the metadata as processed by REDrushes to allow either a signal or file based conform downstream. It is something I have been looking into for time sensitive, lots of dailies types productions.

Michael
Click to expand...

I've been working on something similar - because it's very logical if you break it down like this:

#1) you want to have playback on set AND YOU DON'T WANT TO USE THE CAMERA AS A PLAYBACK DEVICE - there are more important things for the camera to do while a director or whoever reviews a take -

#2) TAPE IS BAD - FILES ARE GOOD so, let's just all agree here that what we should have is a DVR device - recording A LOWER RESOLUTION FILE for PLAYBACK on set.

#3) obvious advantages of DVR are TAGGING ADDITIONAL META-DATA AND ANNOTATIONS while shooting and/or during playback/review.

So, if you record A PLAYBACK PROXY for on set review - as long as you can get REQUIRED META DATA - there is no reason this media should NOT be your EDIT PROXY as well.

Need TC embedded in the preview out - and there are a few "hurdles" re: framerate of output, etc. - but Ben at RED LIGHTNING SOFTWARE is closing in fast - we we got Curt to create a device in the Viewfactor labs to send a bluetooth signal indicating when the camera starts and stops - so .... slowly but surely ... it's coming ...
 
Does anyone know if there is a way to play back all the clips, one after another, on a CF card or drive? I have some clients that would probably like to ingest by playing back through camera's HD-SDI and are going down to SD so they don't care so much about pulling from the 4K.

Matthew
 
macville said:
Does anyone know if there is a way to play back all the clips, one after another, on a CF card or drive? I have some clients that would probably like to ingest by playing back through camera's HD-SDI and are going down to SD so they don't care so much about pulling from the 4K.

Matthew
Click to expand...

there is not a way YET - but I sent an email to Stuart a while back suggesting that Red should have a "PLAY ALL" feature - that just plays the entire contents of a CF or drive. Build 17 I hope.
 
Offhollywood said:
there is not a way YET - but I sent an email to Stuart a while back suggesting that Red should have a "PLAY ALL" feature - that just plays the entire contents of a CF or drive. Build 17 I hope.
Click to expand...

Offhollywood,

c'mon - build 17? these guys are not THAT slow :)

please, re-suggest this "play all" feature in new minor version of build 16 !!!!

it's a great idea, so why wait?

filip
 
Recording a playback proxy on-set would be brilliant. Not sure if it would qualify for "dailies" (in the bondable, QC'ed sense), but you could do a split workflow where dailies for offline, director, producers, the studio etc. are recorded on set, and a separate pipeline for QCing footage. Which would lead to some interesting results... although in the end the bonders aren't going to like it if QC is behind the dailies by any significant amount.
 
The reason I asked is that sometimes I have jobs that need a really fast turnaround, has to be cut on avid and only need sd resolution. I know I lose timecode and reel number and have to play every take individually in to an avid on set. I think with timecode embedded and a way to link to metadata then this would be a very quick way of producing high quality offline rushes or online rushes for the right job.
 
TC solution

TC solution

despite i have another problem with TC right now, just a suggestion -

you can always use (if you have of course), timecode from AUDIO crew. if you are recording with the audio there is a chance to pass timecode as audio sound to, say audio ch 1. (sounds like trrrrrrrrrrrrrrrrrrrr) and when editing - use this to re-generate TC from it.

filip
 
If you could split the timecode from the embedded HD-SDI into LTC and record that as an audio channel, the Avid has a feaure to decode TC to track as metadata.

Michael
 
MichaelP said:
If you could split the timecode from the embedded HD-SDI into LTC and record that as an audio channel, the Avid has a feaure to decode TC to track as metadata.
Click to expand...

There is no embedded audio on Red's HD-SDI feed, at least not at the moment, to my knowledge.
 
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