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 :)

It's official...

Yep. And that's really exciting news for those that need it.

Phil Holland said:
Hi.

phfx_REDWeapon_UHD4KProRes.jpg
Click to expand...
 
Do we get ProRes 4444 support as well?
 
Best... news.... since Weapon announcement..

Upgrade path seemed a bit of a stretch for the 2K ProRes option. This is a game changer. Thanks RED :)
 
Don`t get me wrong…Im not a Prores fan. We just use it as delivery format. Using r3d direct into Resolve and export it to Prores 4444 is the best workflow – for us.
For the people how wants Prores, 4444 would be great.
 
Great innovation but I will personally never use it for my shooting. In the many, many years we've owned and operated Red cameras I've become accustomed to RAW. Don't know how I could ever go for anything else.
 
I think the Forged Weapon availability mid-Jull-> mid-Sep is a different announcement to ProRes functionality.

We will know more about the differences beyond cosmetic on Monday COB (should be minimal)

AJ
 
AFAIK, you are able to feed the QT ProRes files to either the RedMag or the GigE tether, or maybe both? Perhaps even at different settings? The tether is likely limited to 120MB/s which for UHD would likely mean 4:2:2HQ at best, the mag should be able to do UHD 444XQ if you didn't want to write R3Ds at all. One obvious approach would be to keep the R3D compression ratio low by writing only R3Ds to the mag and writing "editorial" files to outboard storage via GigE .

I expect we'll know more soon...

Cheers - #19
 
Satsuki Murashige said:
What does 'Feed' under the 'Quicktime' tab refer to?
Click to expand...

You can assign independent gamma and 3D LUTs to separate feeds.

So, for example ... you might want all the monitor paths to be set to DragonColor4 with a custom 3D LUT (Feed A) but you want to record ProRes with REDlogfilm (Feed B) like scripted television shows that shoot LOG-C on Alexa currently do - record a log version in prores for color.

Of course, the smarter way to go IMO is record 6K/8K RAW at the same time you record HD ProRes with a baked-in look (3D LUT+DragonColor4 +realtime, non-destructive, direct to camera RAW adjustments via FoolControl). Use R3D for finishing - use the ProRes proxy for edit media and for xfer to H264 for cloud viewing dailies.

YES - we want DNxHD36 on camera too for sure - BUT - you can rip HD ProRes to DNxHD 36 for AVID edit and H264 for cloud MUCH faster than you can rip R3Ds to those codecs - so even if you don't use ProRes for editing (95% of all scripted TV shows in the USA are editing in DNxHD36) - using the ProRes as a mezzanine proxy for dailies is easy and will be faster. Just drop it in Adobe AME and rip.

But there are different signal-path workflows and having independent monitor paths with or without LUTs and having independent gamma and your choice of which gets recorded and which gets monitored makes it all possible without cables to LUT boxes and separate recorders, etc.
 
Last edited:
You must log in or register to reply here.
Back
Top