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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 :)

Playback for EPIC...

Great news.
Having a small portable thunderbolt enclosure for the Red Rocket like the one Ted presented at IBC should be a good interim/complementary solution. Hope to see those soon, and a Red-approved version would be even better!
 
I suppose that playback will be limited to the new upcoming 9" monitor's resolution (or at least the video window portion within it).
I assume the 9" monitor's resolution is going to be 1280 x 800, and the video portion will use 1280 x 675 (That's exactly 1/16th of the max 5120x2700).
The extra 125 pixels (800 - 675) will be used for top and bottom control buttons that would not obscure the video window.
 
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I would rather have 720p output than playback right now!
 
Playback enables very fast checking of shots whilst the talent are still poised of critical focus, fast action to be analyzed, recording quality to checked and sets to be struck with confidence.
All this saves $$ and time.

Whilst waiting for playback to be enabled a cheapo avchd recorder/clamshell can do some of this .. aka video assist:)

I fear that most directors and producers will assume it will be enabled so worth mentioning it upfront.


Mike Brennan
 
Jannard said:
Playback has proven to be exceptionally difficult. More than you could imagine. We are late. Something we were trying never to be anymore...

This is much more difficult a trick than anyone had expected, but we did have a breakthrough over the weekend. No one wants this to be delivered more than we do.

While I can't offer a date at this point, I know we are "sooner rather than later".

We understand the frustration about this because we share it. The complexity of the code surrounding the single most comprehensive and complicated camera ever made has made this quite a challenge. The only thing I can say is that it will get done. The RED Army is focused on it.

Please be patient. It won't be much longer...

Jim
Click to expand...

Every firmware update email I get, I just wait for those words "PLAYBACK" to be seen. I think we will not have to wait much longer. Thanks.
 
Some may have already said this but, you could never playback off the Neg and it saved us all time. If your unsure, just go again and get it the next time, sometimes it takes much longer to play something back when you could've just shot another take anyway!

Shooting on the Epic for the next 5 Days starting tomorrow night Sydney time, can't wait!
 
Mark Allen said:
Have you tried using a button with a sideways triangle? I have found very often that buttons with sideways triangles make things play.
Click to expand...

I've noticed that as well. Yet strangely, buttons with two sideways triangles give me no joy, despite having 200% more sideways triangles.

I'd recommend getting one with a single sideways triangle, preferably pointing to the right.
 
Mark Toia said:
My only request is that playback is as simple as a one button toggle play, rewind, fwd, stop... Same as the RED ONE.
Click to expand...

+1

But please have some sort of quick scrolling that allows users to quickly go to take 30 when you have already shot 80 lets say... the only problem I had with the Red One was that it took a while to go back lots of takes - unless there was a short cut that I don't know about!
 
Excuse my ignorance but I was wondering what makes playback so much more difficult to implement on the Epic compare to a RED MX...is it the small size of the Epic body? The 5k resolution? Etc... Just simple curiosity not a rant. :)

also for all of the film guys who say playback isn't important...well we're no longer in "the film days" and today playback is important (and is considered standard) as the Red cameras get used in all kind of projects raging from the low budget corporate shoot, TV commercial, all the way up to feature films. That's what makes RED cameras so awesome! :thumbup1:
 
Maz Mawlawi said:
Excuse my ignorance but I was wondering what makes playback so much more difficult to implement on the Epic compare to a RED MX...is it the small size of the Epic body? The 5k resolution? Etc... Just simple curiosity not a rant. :)
Click to expand...

I'm sure debayering 5k RAW in realtime out of a little box and then trying to figure out how to scroll those pictures back in forth is causing quite a challenge.
It's don't think it's the same as playing back a smaller HD PRO RES file... or an even smaller H264...

Love to know myself as well, also simple curiosity. Must be some serious MATH going on.
 
Thanks for the comforting news, Jim. As a (relatively) long-time Red owner, I have developed a f#£¥ing shitload of patience. It is a survival tool. Bottom line: I can wait for the full development of your breakthrough in playback. Clients are happy with review on the MBP via RCX. Keep on breaking through on all fronts. We are behind you!

Mike
 
I remember YEARs ago on the set of Jim Henson’s Dark Crystal (early 1980’s), they were using Panavision systems with a video tap on each camera. This was absolutely crucial, as with the animatronics and pupeteering so many things could go wrong and totally wreck the shot. The people operating creatures (almost under the stage), were not able to see directly what they were doing so they all had to wear real time mini BW (crt) monitors strapped to their chest so they could see. Every take had to be evaluated on video playback otherwise it was virtually impossible to move forward with the (shooting) schedule.

I think with today’s VFX laden “film” making there are so many elements that have to be synched up that near real time verification will save massive amounts of time for very complicated set ups involving live action. Therefore a technically risky production can stay on schedule. Without that capability you just keep shooting almost blind and cross your fingers in the dailies. Not for nothing, simple playback will eliminate stupid and pointless continuity errors. That can get much worse with complicated sets and takes and scenes that span several days that have to be “cut” together. [helps stop the vase of flowers appearing to scoot about between takes, kind of thing.]. I think this is the only way to avoid really costly failures that were caused by one tiny thing that no-one was paying attention to. Literally from day to day that can mean the difference of hundreds of thousands of dollars (plus). I think ultimately it’s that type of capability that will have DPs and directors wanting to switch to digital from film as lot of guess work, difficulty stress and worry can be removed. I imagine that could remove a lot of tension on set right there.

Anything that maximizes efficiency eliminates risk and failure is a very good thing and makes things much more of a “no-brainer” to push the Epic button (I think).

Not to get super greedy… synched up s-3d playback right?

Cheers,

Eric
 
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