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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 :)

MEIZLER MODULE + Apple ProRes

so fucking cool, it makes me super pumped that RED is delivering products that make our lives so much easier. I definitely have my eye on this.
 
Meizler, the wireless stuff, bricks, brick charger, mini mags, dragon update.... Is there more to put on the christmas list?
 
really cool. this opens up different workflows for on set color. hopefully next build of epic firmware will open up independent gammas on every preview output, and a more traditional on set color work flow can be applied via live painting. transcode step will still have to be done to bake in the color for dailies, but it's a lot faster to bake redlogfilm pro res to colored pro res than it is r3d to pro res. at 2k resolutions too, it gives a little extra umph for scaling. loading a look directly into the camera, baking right away and backing up both r3d's and proxies is an option too, but not always ideal if your looks are changing a lot through the day. it's gonna be really in interesting to see how the industry embraces the epic now with the meizler. this is actually pretty new and exciting when you compare it to your typical red workflow.

do we shoot raw and proxies? directly to pro res? if so, baked or redlogfilm? it's a wrench in the current system, but a good wrench. options are key, and i'm really happy RED is giving it. plus all the features of the meizler alone is just awesome sauce :)
 
Gary Paul Walker said:
So that 'modular' thing... it seems to be working out quite well, doesnt it? :P
Click to expand...

smart ass :) The Meizler.. if it was the only module we ever made.. would still justify the modular system. As much as it's easy to forget.. it is still a module.
 
Yes, there are a lot of us that would like to know the answers to Marks questions. I don't think there's any competitive disadvantage to spilling a few beans on this one. All I want to add to my camera is a 2nd EVF/LCD port and prores/dnxhd recording. If there's space, some xlrs, but they're not essential. Dual gamma outputs would be great as well for those with a Pix240.
 
David Litchfield said:
Yes, there are a lot of us that would like to know the answers to Marks questions. I don't think there's any competitive disadvantage to spilling a few beans on this one. All I want to add to my camera is a 2nd EVF/LCD port and prores/dnxhd recording. If there's space, some xlrs, but they're not essential. Dual gamma outputs would be great as well for those with a Pix240.
Click to expand...
+1

Too much expensive this module. Alexa wins here in Europe there is not enough market for an investment so expensive in relation to the cost of a single Epic - not to mention the Scarlet -
With that money I can buy a Sony F3 one Canon C300 or two Sony 700 ...

Say should cost about $ 3500 to be a good deal

Andrea
 
Mark Toia said:
A couple of questions Jarred, if you don't mind...


5. Silly question but this will make a lot of people sit up holding there breath to hear your answer... Will you consider making and EPIC or SCALET that shoots just PRO RES or DNXHD. not RAW... simple small ready to go, ready for mugs like me that just want to shoot / edit / RUN... Silly question I know because I know Jim's stance on RAW, but now that you have made the ultimate RAW camera, how about a purpose built PRO RES camera. ?


Thanks Jarred.
Click to expand...

I think I rather have just a small Prores proxy module than an entirely new camera that can't shoot raw. I think thats the advantage of Red, if I didn't want raw and my outputs were 1080 I'd just get a F3 with S-Log.

I would love smaller modules though that I can add Meizler module functions to the camera with out adding all of them, a prores module would be great, I would love a wireless module (wireless video, audio, and ipad control) and on top of that I'd love a smaller pro io just to keep things light and small for when I don't need everything including some audio connections, a secondary evf port, and and an additional sdi.


I also love the idea of seeing one thing on touch (say rc3/rg3) and redlog film being recorded to the proxies.
 
A couple of questions Jarred, if you don't mind...

1. Can we view REDGAMMA 3 on the client monitors, touch screens, EVF etc.... but get RED LOG FILM or at least LOG C Pro res files out of the Meizler at the same time ?

2. 4444 is coming great !. Very happy about that, have you guys figured out how to get 120 FPS PRO RES... or do we have to get that from recording playback.

3. Ok the question we are all hanging for... Since the Meizler is such an awesome box, but sadly for a majority of us, 80% of it's features most of us probably will never use... hense why alot of us probably wont buy one... and not becuase of the price as I think its well priced for what it does... (back me up guys) ... BUT... Will you be making anytime soon a Mini baby version to keep our cameras nice and small.

4. Will you consider 4k PRO RES output? (only becuase I have been making quite a few 4k PRORES files of late for quick editing blowups etc.. and we did a 4k project using PRO RES and man it looked amazing !!!! and it was not heavy at all ! .. and I'm loving the quick ease of 4k PRO RES.

5. Silly question but this will make a lot of people sit up holding there breath to hear your answer... Will you consider making and EPIC or SCALET that shoots just PRO RES or DNXHD. not RAW... simple small ready to go, ready for mugs like me that just want to shoot / edit / RUN... Silly question I know because I know Jim's stance on RAW, but now that you have made the ultimate RAW camera, how about a purpose built PRO RES camera. ?

6. I seldom go back to the RED R3D files unless I need to fix-up a shot that I have under or over exposed... For me it's my NEG... And I love having them handy.
My work flow is predominately PRO RES 2k & 4k RED LOG FILM.. only because I can make perfect white balanced RED LOG FILM PRO RES files direct from RCX.. . Perfect.
My question is, with how you see the future of Apple & Adobe can you see real time 5k RAW editing coming any time soon. I mean fluid and not heavy, smooth as silk scrubbing with real time effects... like we have with HD PRO RES ? or do you think it's some time off still until computers engines and chips hit new higher levels of performance.


Finally I want to say, that Im very happy with my cameras as they are. even without the Dragon chip, even without a mimi Pro res module... They suite my working life style so perfectly I couldn't ask for anything more.

I want to say again... Thank you for the support over the years, if you guys did not make this camera, seriously I'd still be shooting film... or retired.

Thanks Jarred.
 
David Litchfield said:
Yes, there are a lot of us that would like to know the answers to Marks questions. I don't think there's any competitive disadvantage to spilling a few beans on this one. All I want to add to my camera is a 2nd EVF/LCD port and prores/dnxhd recording. If there's space, some xlrs, but they're not essential. Dual gamma outputs would be great as well for those with a Pix240.
Click to expand...

Andrea Scaglione said:
+1

Too much expensive this module. Alexa wins here in Europe there is not enough market for an investment so expensive in relation to the cost of a single Epic - not to mention the Scarlet -
With that money I can buy a Sony F3 one Canon C300 or two Sony 700 ...

Say should cost about $ 3500 to be a good deal
Click to expand...

I do believe that Jarred alluded to the fact that since all this R&D has gone into making the Meizler Module, it would be silly not to look at other options. I believe that RED are working on other modules based on what some of us are looking for. Not everyone is looking for all the features on the Meizler, but there have been a fair number of posts asking for a smaller module with the 2nd LCD/EVF port, ProRes/DNxHD recording and wifi h.264 recordings all rolled up into one. I know that's what Mark Toia would like.

The +1 module would carry the extra LCD/EVF ports so lets take that out the equation. So a mini Meizler with the ProRes/DNxHD recording on the miniMags and wireless h.264 would be great.

I would have to agree, that module would be top of my list. At the moment, when a client wants quick ProRes files and they don't want to wait for transcoding onset by my DIT, we have hired out as KiProMini. No ideal, but it works. I've even had some clients say that they didn't realise we could do that, and from now on they would use us with the EPIC rather than the Alexa because they can have the best of both worlds, ProRes for quick editing and then the RAW for going back and doing proper grading on.

Mark Toia said:
3. Ok the question we are all hanging for... Since the Meizler is such an awesome box, but sadly for a majority of us, 80% of it's features most of us probably will never use... hense why alot of us probably wont buy one... and not becuase of the price as I think its well priced for what it does... (back me up guys) ... BUT... Will you be making anytime soon a Mini baby version to keep our cameras nice and small.
Click to expand...

As above Mark, agree with you here.

The Meizler is extremely well priced for all the features that it carries. I am with you for the smaller module (the Toia module?!?!?!?!?!? :)) That would be the top of my list, purely as when I've used a device such as the KiProMini or something like that, it has turned clients view of what the EPIC can do. Through a bit of education then (which tends to take all of about 2 minutes) they get to understand that they can have ProRes for offline and quick editing and RAW for master grading. Plus, when you have a KiProMini and a Cube on the camera, it looks messy, where as a nice all enclosed module would be easier to handle and of course, less messy!!! ;)

I always thought that having a module like this would kill off the DIT, but I think it makes it more important (for those projects that have DITs), to be able to offload both the ProRes and RAW, but also have the flexibility to create any other formats should the client ask is a real bonus + someone who can QC the footage, apply one-light, etc. etc. etc.

I have no doubt its coming - lets see what Santa can bring us ;)

Steve
:))
 
Geoff McLeod said:
Cool. I'll bet this means there'll be more tv series shot on Epic now.
Click to expand...

Well I for one hope so. I'm not bitching, though, I'm not AC, so I can't comment on all that "horrible Red ergonomics and shooting experience" and "Alexa's superiority on set" talk both online and offline. Images captured by the majority of modern digital cinema cameras look damn great, so let them use whatever gear they want and feel comfortable.
 
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