Welcome to our community

Be a part of something great, join today!

Log in
  • 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 :)

Epic h.264 proxy creation

Steve Freebairn

Steve Freebairn

Well-known member
Joined
Jan 17, 2007
Messages
1,420
Reaction score
0
Points
36
Website
www.freehillproductions.com
I'd love to have Epic have a menu option where it could automatically create h.264 proxy files (720p or maybe even 1080p). I understand that it might take away to much processing power, so what would be really cool, and this might even be able to be implemented on the Red One, is to have it create proxies in the background in between takes. So that when you pulled the drive off, you'd have files that could be burned straight to blu-ray or put on the web. You could even use the files to edit with. To take it to the next level, it could put the proxies on the CF card, while the footage goes to the Red Raid or Red Flash. This would allow for some really quick edits and way fast turn around times.
 
How are you going to CC your H.264 footage to make it of any use?

Why not just capture your monitor feed?
 
Brook Willard said:
By the time Epic ships, the post workflow will be so solid and accepted that I don't think such proxies will be of any significant use.
Click to expand...

although new 5k files might create their own headaches....who knows. hopefully REDCODE (4k and 5k) will be natively supported by then.

I'm not sure if I see the advantages in h264.
 
Brook Willard said:
By the time Epic ships, the post workflow will be so solid and accepted that I don't think such proxies will be of any significant use.
Click to expand...

Really? You can't see the use of being able to just plug a drive into a computer and being able to burn straight to Blu-ray? Wow, I'd love to work with your clients then, because the people I know, want things yesterday.

I agree that the workflow will be much further along, but I guess in my mind it comes down to, if we could have the camera do it, in it's downtime, and it were an option you could turn on or off, why not give people the choice?
 
So you want this in order to give something to your clients right away? EPIC is for serious cinema work.

CC can be so complicated with RAW. Your CCing might change dramatically, even from take to take, let alone setup to setup.
 
I'm guessing that while the camera will shoot 5K, 4K post will remain for a long time. I really expect that there will be a special near-pixel-perfect 4K debayer available for the 5K footage... to fit into current 4K workflows.
 
Tom said:
So you want this in order to give something to your clients right away? EPIC is for serious cinema work.

CC can be so complicated with RAW. Your CCing might change dramatically, even from take to take, let alone setup to setup.
Click to expand...

Think feature film work, that's where I'm basing the request. I'd like dailies auto created.
 
brook nailed it. ALL post software will be working with .r3d files NATIVELY by the time EPIC comes out, so there will be no need for Proxies at all, let alone, specially created H264 proxies. A year from now, using proxies will seem archaic, and everyone (AVID, Final Cut, Adobe, Autodesk, Baselight, Pablo, etc. etc. etc.) will be accepting .r3d files, eliminating the need for any proxy files.

As for graded dailies, by then, the dailies can be graded by pre-loading a look file onto the camera itself, and the .r3d's will have the grading attached to them as metadata. those .r3d files will then go DIRECTLY to the editor, fx house, etc.

next year will be the biggest year for RED ever, as once the post software is all on board, it is all over.

of course, next year will be the first real competition come out, but RED will once again blow them away with EPIC, and continue their meteroic rise to the top of the professional camera heap.

God love 'em....
 
FF35 (V.V.) will be very sell-able in my opinion. Fantastic for feature film and pitch-able to commercial houses. Rock videos? Hell ya! I'm just wondering about cropping for 16:9 for broadcast. A post re-frame or in-camera option with "safety zones" on the viewfinder?

Great price point for lenses too considering they wont have to be re-invented for some larger, less popular format, only cine-ized mechanically (re-housed) or electronically (Birger style).

If the sensor was 8kish and could do an in-camera step down that would be unbelievable. Need some serious processing power here but the results would be amazing. People are saying/asking for +3stop DR. I guess codec bitrate increase would be would be a big plus but downsampling would help dig into the noise floor too.
 
You must log in or register to reply here.
Back
Top