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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 :)

One thing is missing.

J

Juergen Di

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In my opinion the scarlet is missing one thing.
calculated a bit with the codec and Redcode42 would mean about 150 GB per hour. Thats pretty much. But it is pretty good too, in many cases.
But sometimes, i would prefer a smaller file-size, less MB per second for less posibilities in postpro and less quality. Don't get me wrong. REDCODE42 &100 is realy cool for professional production, but often I'am asked to bring my camera with me to a party or family meeting. In that case i don't have the need for RAW-material. It's the same like DSLRs. I love RAW in many cases, but sometimes i don't need it. For example when i'm on the move with my family and i shoot a bunch of snapshots of my kids, i just go with Jpeg. Because it saves time (and disk-space). Not much PP needed.
It would be realy cool if the scarlet would offer something like that in the 720 or 1080p-mode. Just something you can use without a lot of Postproduction or if you are on vacation without a computer to save the data.

Cheers
 
I don't know if there will be a solution for your needs, but you can try this :
- Use your SCARLET/ANY RED CAM normally
- Plug your media on your computer
- Load your files in Final Cut Pro with the "log and transfer option" after setting the redcode importer to tell it to convert your files to your wanted format (REDCODE or any Apple ProRes including 422 LT and 422 Proxy which semm to be two formats you may wanna use).

THIS assuming you have a Mac and FCP. If yes, I can tell you it works WELL. The RED log and transfer plug-in works very well and is dam good for small production. With this solution, your RAW files never go to you computer's hard drive and you save some significant space for you family video and everysthing else you may shoot.

Hope this "tip" helped you in some way.
 
I believe that is 1080p RAW but I'm not positive. It sounds like what Juergen might be asking for is 1080p ProRes or some other more compressed format. I can't really imagine RED ever offering an H264 recording format, but if people are using these things for home videos...
 
Bastien Tribalat said:
I don't know if there will be a solution for your needs, but you can try this :
- Use your SCARLET/ANY RED CAM normally
- Plug your media on your computer
- Load your files in Final Cut Pro with the "log and transfer option" after setting the redcode importer to tell it to convert your files to your wanted format (REDCODE or any Apple ProRes including 422 LT and 422 Proxy which semm to be two formats you may wanna use).

THIS assuming you have a Mac and FCP. If yes, I can tell you it works WELL. The RED log and transfer plug-in works very well and is dam good for small production. With this solution, your RAW files never go to you computer's hard drive and you save some significant space for you family video and everysthing else you may shoot.

Hope this "tip" helped you in some way.
Click to expand...

Cool tip. But it isn't very helpful if you are away on vacation and don't want to take a computer with you, which I think is what he was asking. Truth is it might just make more sense to buy a Canon HV30 for these kinds of things.
 
True.
But in that case I would go with a JVC HM100 but this is off topic:001_smile:
 
Jim has already stated that they will never offer a recording codec other than RAW because they refuse to accept the compromises that processed video comes with. The log and transfer method tipped above is your best bet for now. By the time these cameras actually hit the market, I see there being much quicker and simpler workflow solutions for redcode than there are now. The post-production market is JUST NOW beginning to take R3D seriously.
 
CPU

CPU

It seems, the RED cameras do a minimum of processing on the Green pixels, and just pixel skip out the RED and BLUE pixels for later processing after de-compression.

So in order to get good results the full sensor data needs to be compressed.

You can make any compressed format after the de-Bayer on a PC, but there is no de-Bayer module on the camera body yet, the viewfinder de-Bayer is not 3K of high quality(?). Or you could add an external HD recorder on the viewfinder output.

If they made a H.264 module plug-on for the sensor head part, then you could get sort of de-Bayer in the camera, but 3K does not four pixel group into 1920x1080, for that you need a sensor with 3840x2160 pixels, so called Quad-HD or 4K-HD. 1280x720 does fit into 3K with crop if you do the four pixel group de-Bayer using a sensor area of 2560x1440. Doing the half-size (fourth area) de-Bayer is fast and easy and does not use much CPU speed or power.
 
Jonathan Stevenson said:
Jim has already stated that they will never offer a recording codec other than RAW because they refuse to accept the compromises that processed video comes with. The log and transfer method tipped above is your best bet for now. By the time these cameras actually hit the market, I see there being much quicker and simpler workflow solutions for redcode than there are now. The post-production market is JUST NOW beginning to take R3D seriously.
Click to expand...

agreed and agreed. i think this topic is jumping the gun a bit.
 
questions?

questions?

Bastien Tribalat said:
I don't know if there will be a solution for your needs, but you can try this :
- Use your SCARLET/ANY RED CAM normally
- Plug your media on your computer
- Load your files in Final Cut Pro with the "log and transfer option" after setting the redcode importer to tell it to convert your files to your wanted format (REDCODE or any Apple ProRes including 422 LT and 422 Proxy which semm to be two formats you may wanna use).

THIS assuming you have a Mac and FCP. If yes, I can tell you it works WELL. The RED log and transfer plug-in works very well and is dam good for small production. With this solution, your RAW files never go to you computer's hard drive and you save some significant space for you family video and everysthing else you may shoot.

Hope this "tip" helped you in some way.
Click to expand...

HOW LONG DOES IT TAKE WITH AN AVERAGE MACBOOK PRO TO DO THIS CONVERSION? CAN YOU DO IT WHILE SHOOTING? I mean as Cf cards are not that big or cheap (red ones at least), can you just go around with three Cf cards 32Gb and then upload the files on the Mac? or at that point you drop all the raw files to mac and then convert them later?

Also the 1080p not RAW version of redcode shouldn't get less space?

I'm talking for documentary production..

Thanks
 
Julio Quintana said:
Cool tip. But it isn't very helpful if you are away on vacation and don't want to take a computer with you, which I think is what he was asking. Truth is it might just make more sense to buy a Canon HV30 for these kinds of things.
Click to expand...

This is why I see the Canon 7D (t1i if on a tight budget) as complementary to the Scarlet/Epic. There are situations where the quality motion of Epic/Scarlet is essential - and there are other situations where speed, high quality stills, etc. are more important.

We also should realize that the mirror system on a DSLR is a key part of achieving the superfast/spot-on autofocus still photographers are used to and it may be near impossible for a DSMC to achieve.

I am sure that someday the 900 terabyte 4KGs iPHONE will have its entire body as an 80 gigapixel sensor with a 10-8000mm "liquid" lens that records stills and 3D motion video. But for awhile we might have to accept that our full "kit" will include a RED Epic/Scarlet AND a vDSLR.

The beauty is that this is pretty affordable. Adding a decent vDSLR/"directors viewfinder" to an Epic package is almost trivial. And even adding say a t1i to a scarlet package probably isn't a deal breaker.
 
Elio Roma said:
HOW LONG DOES IT TAKE WITH AN AVERAGE MACBOOK PRO TO DO THIS CONVERSION? CAN YOU DO IT WHILE SHOOTING? I mean as Cf cards are not that big or cheap (red ones at least), can you just go around with three Cf cards 32Gb and then upload the files on the Mac? or at that point you drop all the raw files to mac and then convert them later?

Also the 1080p not RAW version of redcode shouldn't get less space?

I'm talking for documentary production..

Thanks
Click to expand...

I did not try this on a Mac Book Pro but on my iMac with the following specs :
- Core 2 Duo 3,06ghz
- 4 GB of DDR3 RAM
- nVidia GT 130 (512 MB VRAM)
- Final Cut Pro 7 with the latest Red Log and Transfer Plug in.

It took approximatively 5 minutes to convert 15 seconds of R3D footage to Apple ProRes 4444 (using the full resolution quick time proxy created directly by the camera). It's quite long BUT, on a regular early 2009 iMac it's quite impressive I think.
So I don't know how a Mac Book Pro would handle this but I think you may get close results.
(I still think that the best system to work with R3D files is a latest Mac Pro with the fastest processor, 16 Gigs of RAM, ATI graphics card and at least a Kona3 card or a Red Rocket. Since Avid Media Composer does not have a log and transfer feature for RED files -as far as I know- so you have to run MetaFuze which is still Windows Only, my software of choice is Final Cut Pro 7)


 
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