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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 Surprises

What else then some sort of crude, physical codec is HDCAM or HDCAM SR ? Not speaking about dvcpro / dvcpro 50 / dvcpro hd. But even more evil these "codecs" need disgustingly expensive converters called "tapedecks".
It´s insane at times when there are really good camera-heads outputting uncompressed images which then have to be compressed and stuffed to inferior tapes / disks / ssds only to be ingested into uncompressed suites again like flame / IQ / Nitris / or through aja / blackmagic cards. Thats weird.
 
I had this discussion with a film shooter who said he had all of his 35MM negs transferred to HDCAM and he said that is the highest digital quality you can get! Think again HDCAM is 3:1:1 compression. So is REDCODE something we could record with on lets say a TeleCine? Bring in a 35MM neg and transfer direct to REDCODE?
 
It would be strange to do a telecine to Redcode, even if it were somehow possible. Didn't Stuart say that Redcode is designed exclusively for the Red sensor, which being a single-chip Bayer array does not sample RGB at every pixel or photosite, the way that scanned film normally is done?
 
There are two versions of REDCODE, the RAW version (which works with bayer sensor data), and an RGB version. You can't take existing footage and encode it to REDCODE RAW, but you can encode to REDCODE RGB. Depending on the license, the RGB version of REDCODE could become a very useful tool in some post workflows.
 
I predict a 4k Projector for $20,000!
 
Chris Kenny said:
There are two versions of REDCODE, the RAW version (which works with bayer sensor data), and an RGB version. You can't take existing footage and encode it to REDCODE RAW, but you can encode to REDCODE RGB. Depending on the license, the RGB version of REDCODE could become a very useful tool in some post workflows.
Click to expand...

Yeah exactly, and I really hope that REDCODE RGB will become sort of a standard for postproduction.

But it seems that in these days it should be able to record some metadata (such as all the lens information, which are important when compositing the footage with 3D) and carry them during the whole workflow.
 
Emery said:
I predict a 4k Projector for $20,000!
Click to expand...

If that happens, my wife would kill me... I would have to finish out the basement and build a nice theatre/screening room. :)
 
joelnet said:
He is pushing a proprietary codec of course. That's a pretty smart move... if everybody brags on the codec there's only one camera that'll deliver it. I'm pretty confident it'll be the best codec in the business. It may be that we'll be staying in that codec in post when NLE's support it. Graeme could probaby clue us in to that likelihood.
Click to expand...

Why not selling some good proprietary technologies for an affordable Camera with the key Elements/Factors : it's a " OSFC " ( OPTICS / SENSOR / FORMAT / CODEC ) compare to " SONY " ( SOON / ONLY / NOT / YET ).

Many people aware of the new four letters ( OSFC )

STEWART
Founder
REDHKSC
RED 1 x68 in 2007
 
I'd love to hear the Sony folks say "stuck in that codec" - Yeah, until you fire up your copy of Redcode to convert to any codec you want, and it is free with camera. Want to convert Sony's proprietary codecs, aka HDCAM and HDCAM SR? Those decks cost more than a Red One (OK, not the JH-3, but you get my point).
 
I need a REDTELECINE to transfer 35MM to REDCODE.
I have a ton of 35 on HDCAM and when people want
clips I have to go to a post house and pay at least
an hour to get the clips I need over to a QT.
 
What I’m hoping for at NAB:

1. REDCODE API in at least one of the big NLE’s to be able to edit native REDCODE. Maybe Vegas will be the first!!

2. Good RPL tool that supports most of the EDL/XML/AAF etc standards etc.

3. Onboard REDCODED 2K@120fps (raw=380MB/s) may be feasible as REDCODE is currently producing 4K@30fps (raw=380MB/s).

4. Ability to backup REDRAM/FLASH to REDDRIVE.

Cheers,
Dave
 
You will get some to most of what you want.

Jim
 
Jannard said:
You will get some to most of what you want.

Jim
Click to expand...

some to most is music to my ears but I'm hoping for a "Most to all" for my want list...

1) Native Redcode editing in Final Cut
2) Onboard 2K at 60fps
3) Red Ram to Red Drive with "silent Mode" that shoots to Ram and spins up and spools to the drive only on "Cut!"
 
Thom said:
some to most is music to my ears but I'm hoping for a "Most to all" for my want list...
2) Onboard 2K at 60fps
Click to expand...

You can shoot onboard 2k at 60fps, only sad thing is it will be in the S16mm "windowed" frame size.
 
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