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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 :)

Prepare...

Thanks Ian, forgot about the Redline workflow with Crimson, will give it a try.

I still think we need Redcine ready for B16, it's the only app suitable (free) for on-set monitoring of shots, you can't take 20 shots and skim through them with RA.
 
Dan said:
Thanks Ian, forgot about the Redline workflow with Crimson, will give it a try.

I still think we need Redcine ready for B16, it's the only app suitable (free) for on-set monitoring of shots, you can't take 20 shots and skim through them with RA.
Click to expand...
I'm sure the Red guys and Assimilate agree with you completely. Unfortunately writing and debugging code is a mental exercise that doesn't benefit from being hurried.
 
Will REDspace make the proxy's look like the original .r3d, in terms of Gamma, and brightness. That has always been my one concern, that the proxy (although they are just proxies) look muddy and not as bright as the .r3d.
 
Is it a telepathic sensor/DSP replacement or what ??????

Guys, you're beyond any hope...
 
Jim & Red Team,

Thanks for your efforts to improve your products and push the envelope to
the highest level of quality!!

Are you selling stock Jim?

Dave
 
ibloom said:
Dan, Redline is all you need to run Crimson. I suggest exporting to a high quality codec, ungraded with Redline and then do your grading elsewhere.
Click to expand...

Ian,

I don't know about others, but I bought Crimson since it integrates so well and EASY with Redcine as we know it today. I am a cinematographer; I do not want to be writting commands using Redline... :sick:

I suggest you create a video training using the Redline since I am having the sence that Redcine will be obsolete VERY SOON if it is not upgraded for Build 16. That will be a disappointment, and a hugh one! :waaa:

PS

Can you ellaborate on what do you really mean with " high quality codec" and "gradeng elswhere"? Thanks!
 
I'm very excited about drilling down into the depths of image coming off of this build. I visualize islands in oceans of noise where the oceans are suddenly swept away and great mountain ranges are revealed below.

IBloom
 
Luis,
Redcine is not going to be obsolete, I think you may be overreacting to a small delay. It's a good thing if Red releases Build 16 as beta with RedAlert support.
Their only alternative is to wait for Redcine support. They can't snap their fingers and make it so. So lets move forward as best we can. Please also don't forget it's beta and we shouldn't use it for pro jobs and please please please don't start a job without testing your workflow. All desperate midnight phonecalls about rendering DPX sequences and no play makes IBloom a dull boy.

Let's not take this thread too far off track. See my full reply to your questions here:
http://www.reduser.net/forum/showpost.php?p=228305&postcount=199

Warm Regards,
IBloom
 
The game has been changed once again.
Congrats Jim & Team.
 
ibloom said:
Dan, Redline is all you need to run Crimson. I suggest exporting to a high quality codec, ungraded with Redline and then do your grading elsewhere.

IBloom
Click to expand...
With all respect Ian (and I can say that from my personal experiences, you've been absolutely great), the entire point of using Crimson with Redcine is so that you can grade just the part of your footage that you want in its full color space before you export that information to your "high quality codec" masters. If we're relegated to using REDLine and have no more control over the initial grade, then Crimson becomes useless to me since you're now forced to work in a reduced color space where the highlight and shadow information has been "burned in" and there's little to no overhead for tweaking those crucial areas of the image. This is precisely why one uses Redcine in the first place!

The only real alternative here is to export everything to individual TIFF frames - and besides the obvious annoyance of not having your clips saved as singular, playable movies, it completely defeats the point of the space-saving benefits of REDCODE and mandates that users have the necessary hard drive storage and processing power to chug through hours of uncompressed data. The real magic of RED is that it allows users with a single desktop box to actually deal with 24fps of 4K data without the need for expensive post house solutions. If we lose the ability to work with the RAW files in REDCODE, we've lost the big advantage that RED brings to the table.

I'm pleased to hear about the revisions in the camera with "Build 16," but until there is Redcine support, I honestly can't see myself doing any upgrading. Some people really seem to underestimate how important the post workflow is in this camera's success.
 
Häakon. I agree.

I find myself contemplating Scratch, much because of workflow hazards when you move from "video" workflow to "film" workflow.

rendering out the online, then CC'ing and then maybe doing titles means a grand total of almost 1 GB/sec of 2k dpxs for a project.

But then... Color is a buggy beast, it hates 25 fps file based projects, randomly "forgets" or replaces grades and gamma goes all over the place (yes, I can compensate for gamma, but...)

Also - unless you go for linear tiffs - I don't agree at all that the batch processing in redline gives the same result as preparing your clips in RedCine. But RedCine is also a very buggy beast with a close to totally useless rendering engine...

So. Crimson with a RedCine like preview and redline rendering would definitely make more sense.

But as these tools will be updated with build 16...
 
Häakon said:
With all respect Ian (and I can say that from my personal experiences, you've been absolutely great), the entire point of using Crimson with Redcine is so that you can grade just the part of your footage that you want in its full color space before you export that information to your "high quality codec" masters. If we're relegated to using REDLine and have no more control over the initial grade, then Crimson becomes useless to me since you're now forced to work in a reduced color space where the highlight and shadow information has been "burned in" and there's little to no overhead for tweaking those crucial areas of the image. This is precisely why one uses Redcine in the first place!

The only real alternative here is to export everything to individual TIFF frames - and besides the obvious annoyance of not having your clips saved as singular, playable movies, it completely defeats the point of the space-saving benefits of REDCODE and mandates that users have the necessary hard drive storage and processing power to chug through hours of uncompressed data. The real magic of RED is that it allows users with a single desktop box to actually deal with 24fps of 4K data without the need for expensive post house solutions. If we lose the ability to work with the RAW files in REDCODE, we've lost the big advantage that RED brings to the table.

I'm pleased to hear about the revisions in the camera with "Build 16," but until there is Redcine support, I honestly can't see myself doing any upgrading. Some people really seem to underestimate how important the post workflow is in this camera's success.
Click to expand...

Haakon... you won't have access to Build 16 until there is REDCINE support. The Alpha testers are chosen because they are willing to work with the tools we have through development.

Jim
 
Jannard said:
...We will put the RED ONE and Build 16 up against any 12 MP DSLR... side by side tests coming soon...
Jim
Click to expand...

Mr. Jannard:

If I can even match the quality of my 10MP Digital Rebel XTi, I will break down and cry. I am optimistic but a bit doubtful, I must admit. Please, please make it so.

-shooter
 
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