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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 :)

Jim, Jarred, discussion on 1080p out

Uhhh Ryan... I think you have not read all of this discussion.. We're speaking about the Epic, not the RED One.

:blush:

It's all good!

Hope you had some wonderful holidays

Jay
 
Jay A. Kelley said:
:party::party:

Thank you Stuart!!! MUSIC TO MY EYES...

Boy am I getting excited about this camera!!!

Jay
Click to expand...


Hahaha, i love you, buddy. Would like to have one fifth of your energy :smiley:
Also, thanks for starting this thread.
Hey, i didnt buy your 101 dvd yett, let me fix this...
 
Jay A. Kelley said:
Uhhh Ryan... I think you have not read all of this discussion.. We're speaking about the Epic, not the RED One.

:blush:

It's all good!

Hope you had some wonderful holidays

Jay
Click to expand...

Thanks- I did read it, and maybe I misunderstood something- I thought you were also trying to figure out a solution for now too, seeing as the Epic is yet to be released. Sorry for the misunderstanding.
 
Jay and Mitch are right. It's a worthwhile discussion to have, since 1080p is a format that is very much in demand.
David Mullen, of course, brings up a good point. The ease of post with 1080 files is dependent on the codec used and whether or not the post folks can handle it seamlessly.
And Dylan is right too that it's frustrating that post people should have a say in choosing imaging devices when we are the originators of the image.
Glad to see that in-camera RGB 1080 will be an option. Clean 1080 output to a Nanoflash or P2 recorder will give us lots of options too!
Cheers,
Harry
 
Hi David, yea hard core computing power and a license for the codec.

I have a friend with a Panasonic p2 portable recorder which I may use for some of that, send em the cards or they bring their own? On the Sony side a bit more of a difficulty as I don't know quite what to record XD onto???? is there a small box?>????

There are hard disk and card aftermarket HD recorders that record 1080P QT fm HDSdi in, so most anyone can use it, the difficulty of the facility playback is still there though, as they have to have a card reader or transfer time to a portable hard drive to carry the stuff away? I'm considering buying one of the card recorders and some extra cards with USB readers to pass to the producer with a return envelope?

So Jay how are you thinking of recording this 1080P output? this is an interesting problem for me too, as I'd often prefer to shoot interviews for news on the larger chip of the RED for DOF reasons. Also it is possible to carry away my own copy and if they come back with the need for a closeup etc. I can send them one. This backup while they are in transit/edit is a nice guarantee for them. People in nets etc seem more afraid of carrying harddrives than tapes?
 
tj williams said:
Hi David, yea hard core computing power and a license for the codec.

I have a friend with a Panasonic p2 portable recorder which I may use for some of that, send em the cards or they bring their own? On the Sony side a bit more of a difficulty as I don't know quite what to record XD onto???? is there a small box?>????

There are hard disk and card aftermarket HD recorders that record 1080P QT fm HDSdi in, so most anyone can use it, the difficulty of the facility playback is still there though, as they have to have a card reader or transfer time to a portable hard drive to carry the stuff away? I'm considering buying one of the card recorders and some extra cards with USB readers to pass to the producer with a return envelope?

So Jay how are you thinking of recording this 1080P output? this is an interesting problem for me too, as I'd often prefer to shoot interviews for news on the larger chip of the RED for DOF reasons. Also it is possible to carry away my own copy and if they come back with the need for a closeup etc. I can send them one. This backup while they are in transit/edit is a nice guarantee for them. People in nets etc seem more afraid of carrying harddrives than tapes?
Click to expand...


what about this portable deck?

http://broadcastengineering.com/products/panasonic-protable-dvcpro-hd/

or direct to disk with this and a laptop.

http://www.aja.com/products/ki-pro/

But seriously, I'd just rent the right camera ENG for the job, over going through this hassle. I'll use an ENG camera for ENG work.

David
 
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Stuart English said:
For the money you would spend on either one of those, why not just buy a RED Rocket™™?

And neither one of those addresses off-speed recording either.
Click to expand...

Stuart.

I'm sure you read through the thread.

Red had made it as easy for anyone to use R3D with FCS as it is to use P2 or XDCAM tapeless workflows.

If a post house or news organization has Final Cut Pro or AVID then they should be as equipped to deal with RED footage as any other tapeless workflow.

RED, while it is priced in the range to compete with ENG and EFP is geared more toward cinema style than fast turn around.

As I stated, it's best to use the right tool for the right job and while in quick turnaround situations people might want to turn there RED into a camera that does what a tape based camera would do, i'd always rather see improvement in the RAW workflow.

So, you provide 1080p out the HD-SDI and, based on whatever the many different needs people are trying to service in this thread, you have provided them with a means to record to some format that the client or the post production house believes is the best for their situation (even if it is a baked in look) and is counter intuitive to the entire RED philosophy.

Quick turnaround, with proper planning, can be done with RED without any major problems or bottlenecks or TAPE, but people still want to please their clients who can't feel comfortable with tapeless workflow.

I don't understand this: if you shoot tape you still have to digitize it in REAL TIME, transcoding to REDrocket is actually a faster workflow, but because the post places do not want to educate themselves or bring themselves up to speed we are supposed to ask you to engineer the camera in a way that makes it "easier" to deal with this type of client???

HUH?

It all feels really backwards to me, whereas coming from a film making and post background, the RED workflow is the first one I have seen that makes complete sense.

A RED rocket lets you encode faster than real time, so I complete agree with your point.

As long as SONY is making VTRS, we will have to live with TAPE, at the very least a delivery format. Acquisition is another matter all together.

But if you put an uncompressed 1080P feed out the camera people will shoot entire films that are recorded to HDCAM SR and never go back to R3D. Even if it makes NO SENSE at all.

You can bet on that.

David
 
tj williams said:
Hi David, yea hard core computing power and a license for the codec.

I have a friend with a Panasonic p2 portable recorder which I may use for some of that, send em the cards or they bring their own? On the Sony side a bit more of a difficulty as I don't know quite what to record XD onto???? is there a small box?>????

There are hard disk and card aftermarket HD recorders that record 1080P QT fm HDSdi in, so most anyone can use it, the difficulty of the facility playback is still there though, as they have to have a card reader or transfer time to a portable hard drive to carry the stuff away? I'm considering buying one of the card recorders and some extra cards with USB readers to pass to the producer with a return envelope?

So Jay how are you thinking of recording this 1080P output? this is an interesting problem for me too, as I'd often prefer to shoot interviews for news on the larger chip of the RED for DOF reasons. Also it is possible to carry away my own copy and if they come back with the need for a closeup etc. I can send them one. This backup while they are in transit/edit is a nice guarantee for them. People in nets etc seem more afraid of carrying harddrives than tapes?
Click to expand...

For Sony, I'll use a Nano-Flash. For P2, I'm not sure, but they have a portable recorder.. I do not like their P2 cards though.

As far as a copy goes, remember this is a LIVE 1080p out.. I'll be recording R3D to my RED Drive for backup, and giving them the CF Cards off the nano flash for immediate editing.

Jay
 
Jay A. Kelley said:
For Sony, I'll use a Nano-Flash. For P2, I'm not sure, but they have a portable recorder.. I do not like their P2 cards though.

As far as a copy goes, remember this is a LIVE 1080p out.. I'll be recording R3D to my RED Drive for backup, and giving them the CF Cards off the nano flash for immediate editing.

Jay
Click to expand...

I've just tested the Nano flash, its a great device for what it does. Its 8 bit long gop or iframe only. Rounding is being implemented on its input reportedly soon. Id still not use it though and use Reds implementation of recording formats. the only thing id like 1080/25P 4.2.2 10bit for is live work but Im not sure its on the cards or the right camera.
 
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