Fastest way to get a ProRes or DNxHD file?

[Teague Kennedy]

I live in the world of quick turnaround, but want to use Epic for a bunch of gigs that I now use 5D or EX3. What is the fastest way to get to ProRes or DNxHD besides having a Sound Devices mounted on cam? I imagine Red Rocket would make the process much faster, but right now in RedCine it is taking like 5 min to export a 10 sec clip.

 

[Malvin Ng]

I live in the world of quick turnaround, but want to use Epic for a bunch of gigs that I now use 5D or EX3. What is the fastest way to get to ProRes or DNxHD besides having a Sound Devices mounted on cam? I imagine Red Rocket would make the process much faster, but right now in RedCine it is taking like 5 min to export a 10 sec clip.

If you're going to be delivering in 1080p you can try changing the Debayer settings in RedCine-X to "1/2 Good" that speeds things up a lot

 

[Chris McKechnie]

You can edit native R3D's in Premier Pro CS 5.5

Solutions like the atomos Samaria or ninja are also effective. You record to pro-res right on the spot, so you can quickly edit, then relink to R3D's after your cut is finalized.

 

[Teague Kennedy]

That Samurai looks pretty cool. Do you have any experience with it? I don't want to have to link back to R3D, so with a proper FLUT would you say this is capable of delivering master 1080p footage for quick turn around work?

 

[Teague Kennedy]

You can link to R3D's in Avid 6.0 as well, but my experience is that it slows things down a bit.

 

[Michael Hardwick]

Fastest way? Well that means no transcoding ideally.

So outfit your camera package with a Ki Pro Mini or a Sound Devices Pix 240, maybe even a Convergent Gemini or NanoFlash - set them to timecode trigger
and record simultaneously. All kinds of mounting and power options for these now.

Set to them to your codec of choice, I think the Pix 240, Nanoflash and the Gemini allow DNxHD codecs

End of day just copy the media from the unit to the client drives and ....done.

Ooops - you did say you didn't want to mount an external recorder. Well that's gonna require more time and money I guess for fast turnaround transcodes - bummer

 

[Chris McKechnie]

That Samurai looks pretty cool. Do you have any experience with it? I don't want to have to link back to R3D, so with a proper FLUT would you say this is capable of delivering master 1080p footage for quick turn around work?

I personally don't use it, but know people who have. They like it for those fast turnaround projects. Go with the Samarai as opposed to the Ninja. HDSDI ftw

 

[Alvise Tedesco]

That Samurai looks pretty cool. Do you have any experience with it?

Not yet, but until next Red firmware you don't have a clean 1080 signal out of Epic/Scarlet SDI, but some kind of light letterboxing, due, I believe, to the sensor aspect ratio of 1:9.
And not yet matching clip names (Atomos told me they will, around or after NAB)

 

[Daniel Stilling]

I use the Samurai with the Scarlet and it works like a charm. Start stop the camera triggers the Samurai every time, and the footage looks great!. I have done a handful of projects this way and my clients just love it.
The only thing is the thin black borders that get recorded. RED, please fix that!

 

[Bob Gundu]

 

[Paul Russell]

Which shoulder pad are you using there, Bob?

 

[Bob Gundu]

In order to keep the lowest profile on my shoulder, I use the berkey systems pad. I screw it right into the back of my manfrotto plate.

Which shoulder pad are you using there, Bob?

 

[Paul Russell]

Cheers, it looks like just what I need.