Module request: Live 4K output

[Stefano Ceccon]

+1 4K live output hdmi

 

[Brian Merlen]

+1 for 4k output via hdmi/hd sdi (3g or 6g, or better yet both)

 

[Harcharan Singh]

4k module

4k module

+1 for 4k module....

Harcharan

 

[Patrick Tresch]

We need a word from the boss...

Pat

 

[Brian Merlen]

Even if Red could output 4k out of HD SDI or HDMI there would still be all the advantages of shooting on mags for those who need it, I don't see it as a redmag sales killer for them to do so (the thing some people suggested may happen above). 4k baked in is great, but you'd still need mags for overcranks, raw, 4.5k+ and what have you. Having 4k output of baked in images doesn't mean I'll put my mags on ebay, merely is just another option for on set third party recording or monitoring.

 

[Björn Benckert]

The cool thing would be something like the + 1 module that got 3840x2160 out of the red HDMI port, just like the +1 and then had a cat5 female connector. then we could have a good 30 meter of cable to a cat5 to HDMI converter... and just hook up that seiki as a ref monitor on set.


HDMI to cat 5 does not seem to be to tricky... http://www.youtube.com/watch?v=MKwC5xjZN8k

 

[ethansigman]

+1. Thank you, Mitch. If anyone wants to check out the Odyssey7q fully rigged with dual ssd's, carry handles, and table stand in NYC- feel free to get in touch. Sexy piece of kit.

 

[Blair S. Paulsen]

Now that we have the monitors...

Now that we have the monitors...

The best reveals at the RED booth remain to be experienced. That said, I promise to jump up and down like a cheerleader full of Red Bulls if we get a UHD/4K live output solution next week.

I get that the concept behind RED Digital was a legit alternative to film acquisition, a world in which you had a rough video tap - not a "proper" picture. Things change, and if anyone gets that its RED.

IMO you can't lead the 4K charge without your flagship devices supporting 4K at every turn, including a UHD or 4K live output for monitoring and live shows.

Cheers - #19

 

[Ivan McCullough]

Yup, put simply its retarded for the 4k cheerleaders to be incapable of monitoring 4k live on set.

I don't think it's possible with current hardware whether you add a module or not.

It's the main reason I think we will see a new camera body from Red next week.

 

[David Kuhn]

+1 Not sure how much this helps the production crew, but I was just messing with my epic with a bunch of CEO's and they really enjoyed playing with the camera. Most exec's still aren't really allowed to touch the camera's even though they technically own everything, and it would have been real nice to throw the images up onto two 4k monitors that were in the room as they were playing with the camera. Getting that real time feed back when the exec's walk in I think really helps to allay fears, which in the long term allows the creatives to be more creative.

The execs only own as much as their stock holdings - , but if our CEO wanted to play with my Epic I'd not be the guy telling him to put it down.

 

[Blair S. Paulsen]

Now that UHD monitors are out at a variety of price points, and the UHD/4K revolution is picking up steam, we need to let RED know how important we think it is - respectfully.

I'd also point out that until recently it really was superfluous since virtually nobody had UHD/4K monitors. Not to mention that actual UHD/4K mastering is still more myth than reality, at least at the moment.

IAC, let's talk about the reasons we want it and why we think RED should prioritize its implementation:

1) Buzzed focus can look really horrid at 4K, on/near set QC is the best way to catch it while production resources are still in place.

2) Wardrobe, hair and especially makeup can read differently at 4K than the expectations of the craftspeople. Having a live image that gives them a look at the portrayal of such elements in a manner with greater fidelity allows them to make adjustments at the time of capture that otherwise might need expensive post fixing.

3) Continuity/spotting problems. In the heat of production, especially if you don't have a proper Scripty, its all too easy to not notice a taco cart in the background, or some other issue that makes a shot problematic in editorial. A big UHD monitor makes it much easier to catch things.

4) Showing the client what they're paying for. In many cases, the choice to shoot on RED is bundled with the desire for UHD/4K assets - for the usual reasons like future proofing, ability to reframe, high res stills extraction (especially with ADD), etc. On a typical HD monitor, an RGB camcorder operating inside its optical sweet spot can look almost as good as an Epic to the untrained eye. At UHD/4K the benefits, and thus the rationale for spending a couple more shekels, is there for everyone to see.

At the moment we're pulling RedMags and reviewing from them, but doing that after every take is a PITA (reel numbering for starters) and nowhere near as efficient.

Cheers - #19

 

[Jeff Kilgroe]

Not only do I want 4K live output from the camera, I want a 10" RED touch LCD that has 4K resolution. Make it so….

 

[James Falco]

Not to mention that it would make focus pulling a dream on a 30" 4K screen on top of your camera.

; )