New Gibby Scoops from NAB!

[Brainstorm]

The 4K displays, 4k projector and the Pro pocket camera are all real, but not shown. Ted went to great length to say that the Pocket Pro is a PRO not pro/consumer camera - "and not plastic"....

If you guys, who cant make it ask questions here - I will be happy to ask Ted on your behalf.

Plus of course we will be posting stuff here and at fxguide.com all week.

Mike

Hi Mike,

Thanks for your on-the-spot report.

Please ask Ted for more details about the Pocket Pro. I know there's plenty or us out here who want to know if this is set to be an "even more affordable" RED camera that will be suited to real-world shooting - as in Indy doco!

Cheers
Brainstorm

 

[Steve Gibby]

Wish I could have followed those early posts with more through the day, but it was a mobile, hectic day for me!

Exciting stuff eh?

Thanks for the kind words...glad to hook you guys up with the scoops! There have been many times when I couldn't make it to an expo and was stoked to get some kind of online report. With that in mind, I found a way to get word of the key announcements to you. A big thanks to the RED Team for getting me the info quickly so I could post it...

In answer to some of the questions on this thread:

- No additional info was released on the Professional Pocket Camera. It will be "mini", and it will be "professional". Beyond that, anything else posted by anyone except RED Team about it, and it's features, is mere conjecture.

- No direct info on Magic Focus. I'd guess more info will be released at some point in the near future.

- No additional info released about the 4k displays

- No additional info released about the 4k projector

I'm stunned at these announcements, but I must say I'm not entirely surprised. These pieces of the 4k puzzle were the remaining pieces to complete an A-to-Z 4k workflow, especially after Apple's announcement of REDCODE support yesterday.

Looks to me like RED has listened to us real closely over the months, seriously considered every needed element of a 4k workflow, and made their move.

This was a great day for anyone who has followed RED's development over the past 18 months, and especially for those who have reserved and/or ordered RED equipment!

P.S. - sorry for not posting more throughout the day...it was impossible for me. I'll be online here at RED User for a few more hours if you have any more questions...

 

[Manfred Lopez]

I'll be online here at RED User for a few more hours if you have any more questions...

Hi Gibby... Great many thanks for your reports. I just have one question... Do you know how many people (ballpark) have been ordering a Red One? I just want to know how screwed some of us are who cannot order until next month...

 

[Bruce Allen]

Thanks Gibby! Your articles have been excellent, by the way. Combine them with hdforindies and the happy reduser.net chat and we have a very thorough idea of what is going on. Get some sleep!

Bruce Allen
www.boacinema.com

 

[david farland]

Gibby,

You need to change the information in your StudioDaily interview.
In the Red One Equipment & Options (RHS column of your 1st StudioDaily column)

The Redcode codec rates are wrong. They're wrong on RED.COM as well. You need to match them to the format options here on RED.COM

Also, as you know, the lcd doesn't come with the $17,500 package. Yeah I know a $2,500 credit does which is similiar.

Thank you for your information today....you saved the starving thousands.

Cheers,
DF

 

[Steve Gibby]

Hi Gibby... Great many thanks for your reports. I just have one question... Do you know how many people (ballpark) have been ordering a Red One? I just want to know how screwed some of us are who cannot order until next month...

Good question...I have no answer for that. Judging by the huge crowds at the RED NAB booth, the high traffic levels that were undoubtedly on the RED and RED User web sites, and the many media stories posted today about RED, I'd guess that they were beseiged with orders. They may never release the numbers, but IMO there was an avalanche of orders today...and there are still three more days of NAB to go...

 

[Manfred Lopez]

Judging by the huge crowds...

Thanks for your prompt answer. Man... I think I'll have to rent Red One for my september feature (well, I already knew that... but it still sucks to know that it will be at least a year from now that one can realistically expect to get a Red One if one doesn't order in the next ten seconds...)

 

[Steve Gibby]

Thanks Gibby! Your articles have been excellent, by the way. Combine them with hdforindies and the happy reduser.net chat and we have a very thorough idea of what is going on. Get some sleep!

Bruce Allen
www.boacinema.com

Thanks Bruce! Right now sleep is an elusive butterfly. I have this "RED buzz" going and every time I close my eyes I simply see multiple apparitions of shooting opportunities on the near horizon! I also keep seeing re-runs of the Peter Jackson footage...it was breathtaking for sure...

So, I'll post for awhile...then try to sleep.

I can't wait to put my RED One camera systems to work in the field or the set. This camera system is the real deal...can't wait to shoot with it...

 

[b e n t o n]

thank you Mr Gibby - you understood we sat on pins&needles

 

[Alex Boothby]

Don't think it's been said yet - Gibby those are gorgeous photos of the Red One in your Studio Daily article. When the dust settles can you post some higher res versions of those? I think I need new wallpaper.

 

[Casey Green]

Wow - Just getting to post - I'm out here in Vegas and it's been a crazy exciting day... saw the 3rd screening of the Peter Jackson film. Speechless.

I'll try and get some stuff online very soon.

Rock on, Red Team.

 

[Andrew Benz]

Steve and Mike,

thank you so much for getting this day started right for all of us. I could go on... but Steve you know that I do appreciate all the hard work. I bet you have been bursting at the seams for the last two weeks, it felt good for all of us to get this info off your chest and onto our screens. You and Mike are the purest definition of... a godsend.

Cheers,

Andrew

 

[Steve Gibby]

Don't think it's been said yet - Gibby those are gorgeous photos of the Red One in your Studio Daily article. When the dust settles can you post some higher res versions of those? I think I need new wallpaper.

Glad you like the pics! I don't have that much experience shooting products. Guys like Brian Ferguson of the RED Team/Oakley are great product shooters. I shot four of the five shots of the 15-50mm zoom on Boris that are included on the article - the large pic at the top of the page and 3 of the 4 on the right side of the page. The middle shot on the right, more darkly exposed, was shot by Jarred Land and donated for the article by RED. My shots were shot with my new "run 'n gun" DSLR, a Canon XTi (400D), with a 28-80 zoom, in 10 megapixel RAW.

 

[Steve Gibby]

Thanks for the kind words Andrew...glad to hook up my friends on RED User. I've was real fortunate to be in a position to get the info, so I didn't have to think twice about passing it on to everyone. Glad to help!

 

[Alex Boothby]

The middle shot on the right, more darkly exposed, was shot by Jarred Land and donated for the article by RED.

Jarred loves the dark.
Funny, I've worked with guys who get $20++ grand a day for shooting product. It's a mad world. Anyway lovely pics.

 

[Emanuel A.]

Steve,

I already added @article's_comments my sincere many thanks on your useful report.

E. ;-)

 

[Kyle Spicer]

Gibby thanks bro! I was hitting the refresh button on your site all morning hehe.

 

[Steve Gibby]

Eeeeeeeeexcelent...

Wish I could have posted more, but it was a hectic schedule!

 

[Paul Wizikowski]

I want to know how fast editing 4k RedCode is with FCS2 and on what kind of machine (4-core, 8-core.) can you get USEABLE results? And specifically does Redcine officially accept EDLs or XML integration so an edit done in Final Cut Pro could be transferred into Redcine so that (if we can edit effectively in Redcode) the Final cut Redcode edit can be transferred to Redcine so only the RAW footage needed for the edit can then be conformed out to a finishing format to be then transferred into Color, after effects, etc. (like media managing a project to a new format using Redcine to conform the original Redcode RAW files to a final format.)

In short FCP6 supports 4k REDCODE RAW but it can't play it as such. It has to proxy the footage at 1k or 2k (depending on the speed of your system) and you lose a lot of the realtime effects that FCP offers. So for now, the more viable option is to convert your 4k REDCODE RAW footage into Apples new ProRes422 codec (which is stunning but only 2k) and use that to edit. Apple promises to have a more seemless workflow with REDCODE in future updates but right now thats what is offered. I should also mention that RED has a filter plugin for FCP that is a color corrector which would, in future updates, allow you color correct in FCP and then spit that back out into REDCINE. I'm not sure how functional that transmition back to REDCINE currently is. RED is still figuring out the Apple updates and Apple is still figuring out REDCINE. Either way, its coming.

Now REDCINE is awesome. Simple yet powerful. One feature to note is the ability to take a clip from the REDONE, bring it into REDCINE and design a look you like, then to take the Look Up Table that created that look and import it back into the REDONE and you can preview onset that look in real time of the footage you are shooting, while still keeping your recoreded footage clean and raw. Thats a huge feature, coming standard. I love this camera!