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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 :)

NAB 2014 - RED 4K BROADCAST MODULE

This is a nice coincidence with the foolcontrol software for remote shading. Maybe in the future we will see hardware paint boxes using the REDlink SDK. But why on earth did you not enable 12G or at least 6G SDI? I know there's no industry support yet, but it's obviously the future. I'm sad that all the major camera manufacturers are releasing brand new stuff using quad 3G.
 
Elliott Balsley said:
This is a nice coincidence with the foolcontrol software for remote shading. Maybe in the future we will see hardware paint boxes using the REDlink SDK. But why on earth did you not enable 12G or at least 6G SDI? I know there's no industry support yet, but it's obviously the future. I'm sad that all the major camera manufacturers are releasing brand new stuff using quad 3G.
Click to expand...
Isn't there some kind of 4x3G > 12G adapter?
 
I too am keen to hear about possible CCU and OCP options for this. Is there going to be a Rec.2020 and Rec.709 LUT or similar to make it really useful for live work??
 
Is there any difference between the quality (scaling/color space etc) of the 1920/1080 out of the Brian's HDSDI and this module?

Asking with regard to scaling/downsamplng. ie. if we will no longer see aliasing + moire etc where there is none then for certain jobs with critical wardrobe etc it could be a useful tool.
 
Actually BT.2020 is still being debated. The problem with 2020 color space is it is on the edge of the CIE diagram. The only way to get out there is monochromatic laser light. The bandwidth of each color would be no more than a single wavelength, not a complex, wideband spectrum like we now have in BT.709 or even P3. While we could hit most all other colors in the spectrum by combining portions of specified 2020 primary colors, the narrow bandwidth would aggravate the differences in the way we see color. There is agreement that the color space can be done, but no confidence any two people will agree on what they are seeing. Talk today is about P3 colors or substituting the original 1953 NTSC green for the P3 green. The P3 red and blue would be kept as they are better than the NTSC red and blue.

I am not aware of any 2020 UHD content today since there are no 2020 capable displays. Everything that is being encoded today is 709.
 
Elliott Balsley said:
This is a nice coincidence with the foolcontrol software for remote shading. Maybe in the future we will see hardware paint boxes using the REDlink SDK.
Click to expand...

You mean like an iPad :)

Elliott Balsley said:
But why on earth did you not enable 12G or at least 6G SDI? I know there's no industry support yet, but it's obviously the future. I'm sad that all the major camera manufacturers are releasing brand new stuff using quad 3G.
Click to expand...

6G & 12G are not yet standardized by SMPTE. BlackMagic jumped out ahead of the standard - and they have some issues I'm told - how long you can the SDI cable, etc. So ... 6G & 12G are coming - but until SMPTE settles on spec - you won't see anybody making quality products. BlackMagic stuff is disposable anyway - so they don't need to wait for standards :)

In addition - most all of the broadcast fibre equipment, specifically 4K fibre solutions are based on quad 3G.
 
Stacey Spears said:
Actually BT.2020 is still being debated. The problem with 2020 color space is it is on the edge of the CIE diagram. The only way to get out there is monochromatic laser light. The bandwidth of each color would be no more than a single wavelength, not a complex, wideband spectrum like we now have in BT.709 or even P3. While we could hit most all other colors in the spectrum by combining portions of specified 2020 primary colors, the narrow bandwidth would aggravate the differences in the way we see color. There is agreement that the color space can be done, but no confidence any two people will agree on what they are seeing. Talk today is about P3 colors or substituting the original 1953 NTSC green for the P3 green. The P3 red and blue would be kept as they are better than the NTSC red and blue.

I am not aware of any 2020 UHD content today since there are no 2020 capable displays. Everything that is being encoded today is 709.
Click to expand...

Wikipedia assumes that 2020 is the colour space for UHD.

http://en.wikipedia.org/wiki/Ultra_high_definition_television#Color_space_and_frame_rate
http://en.wikipedia.org/wiki/Rec._2020

And it is the ITU's recommendation.

http://www.itu.int/rec/R-REC-BT.2020-0-201208-I

Additionally the F55 has support for the standard... it seems logical that this is the direction we are heading, would you assume?
 
Ivan Kovax said:
Additionally the F55 has support for the standard... it seems logical that this is the direction we are heading, would you assume?
Click to expand...

We will go higher bit depth and wider gamut, but that is all we can assume at this point. The biggest issue from my point of view is the major disconnect between the content creators, standards bodies, and the CE manufacturers.
 
Nice but $7,000 for Outputs?
Will there be any Bundle with New Scarlet,Dragon and 4K Broadcast module? XLR out would be great ;-)
 
looks great but is this the only way we will ever get 4k out via a port to use a recorder like the 7q or shougun to get 4k prores?

i love red raw workflow but had a meeting with two production companies this week all saying i love the red but........

ideally they would do it internally like sony has with a paid upgrade and have a raw or prores option internally or at least update the sdi and hdmi to kick out 4k at speed to use the current batch of recorders and monitors ,4k on set.

what you saying RED? possible

http://www.newsshooter.com/2014/12/...s-the-7q-external-recorder-with-4k-over-hdmi/
 
Suresh Kara said:
looks great but is this the only way we will ever get 4k out via a port to use a recorder like the 7q or shougun to get 4k prores?

i love red raw workflow but had a meeting a two production companies this week all saying i love the red but........

ideally they would do it internally like sony has with a paid upgrade and have a raw or prores option internally or at least update the sdi and hdmi to kick out 4k at speed to use the current batch of recorders and monitor 4k on set.

what you saying RED? possible

http://www.newsshooter.com/2014/12/...s-the-7q-external-recorder-with-4k-over-hdmi/
Click to expand...

Yup. This is the only way of getting 4K out of the Epic and only up to 60 FPS. Plus its SDI only.
 
Maybe another midule is in the works w hdmi, would be cool...
 
I had an editor recently demand that we deliver 1080p Prores 422 "raw files" for use in a TVC.

Naturally we found a different editor and send .r3d.
 
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