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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...

Jannard said:
REDCINE... now $1500. As soon as we sell 1000 seats we will get it as stable as any other software application!

Jim
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well, I'm in (with edl support, colormetadata in XML. rendering in redline, roundtrip to whatever, no crashes, all RED formates in the same timeline)

Just drop the total GPU dependancy. It doesn't work too well yet...
 
Jannard said:
...Build 16 is like buying a new camera without going to the store, making a phone call, or placing and order online and waiting for FedEx to show up at your door. . .
Click to expand...

I didn't know Jim was also a POET.

A Genius, a Visionary, a Gentleman AND a Poet!
 
skipdivils said:
REDCine Pro for $999 would FLY off the shelves. $499 would be even better....at this price you'd reach not just the pro post houses, but the guy in his basement with Final Cut Studio.
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WTF is wrong with you guys? REDCINE is a free app, it needs to stay a free app. All planned features included. I don't see where throwing $500/$1000/$1500/whatever per customer at it is going to make it a better piece of software. ...Just my opinion.
 
Jeff Kilgroe said:
WTF is wrong with you guys? REDCINE is a free app, it needs to stay a free app. All planned features included. I don't see where throwing $500/$1000/$1500/whatever per customer at it is going to make it a better piece of software. ...Just my opinion.
Click to expand...

I do agree, but I'd rather pay for a working app than having the current for free..
 
gunleik said:
well, I'm in (with edl support, colormetadata in XML. rendering in redline, roundtrip to whatever, no crashes, all RED formates in the same timeline)

Just drop the total GPU dependancy. It doesn't work too well yet...
Click to expand...

I'm in for that too
 
gunleik said:
I do agree, but I'd rather pay for a working app than having the current for free..
Click to expand...

I see the point but the camera requires software to work. Who's to say there isn't already a charge built into the camera for the software? It would be sorta dumb for them to not have budgeted its' development costs into the cost of the camera. Calling it free is simply a marketing communication choice. It's like saying the Joystick on the back of the camera is free and if it falls off it's a free part so don't gripe much about it. Uh yeah... then what - we offer to pay $1000 for a joystick that works?

That said, I think SDK and a little competition to support RED users is when RED post will take off. I'd sure like to see Color support soon. That would solve RedCine and Redalert issues on a Mac.
 
joelnet said:
...

That said, I think SDK and a little competition to support RED users is when RED post will take off. I'd sure like to see Color support soon. That would solve RedCine and Redalert issues on a Mac.
Click to expand...

I'm not so sure...

They showed RAW in FCP last NAB and RAW in COLOR this, so there's no question they can do it (and have done it).

To me this means there are policy-issues stopping these solutions instead of the current work-around-flows, not technology.

I fear that REDRAW in FCP/COLOR will be limited to ProRes capasity for quality, which frankly does not give the camera the best solution in a lot of situations where the cam could excell...
 
For what it is worth I have made modifications to my post in this thread #101 to qualify some of my statements.

What I am hearing most often in my town, and I am just sharing this, is that the underlying feeling is that getting the most out of RED footage is laborious and time consuming. It does not feel easy.

I am not saying that this is the case, I am talking about perceptions.

People are used to easy conforms. This happened with FCP in the initial days as well. FCP's media manager was a disaster and it took them three releases to get it right.

Because of AVID people were already used to how easy it was to re-conform low rez to high rez. Avid offered and elegant and smooth path from within the software. You had to recapture your tapes, but it was smooth, easy and it worked.

What I think people want (and I know it is what RED wants) is for us to be able to work on the low end proxies and then reconnect to the highest quality images from the r3d for conforms. Just render it from the timeline in FCP for example.

This is obviously the current bottleneck.

I completely understand the logic of getting build 16 perfect (as perfect as it can be right now) so that RA, RC, and the SDK can follow.

But some believe that there is a short window. Although I am in for the long haul, I can sense and feel that other might drift away and that means climbing up the mountain again and rebuilding the great momentum RED has right now.

I wish we could have the best parts of RA, RC and Crimson in ONE app for MAC and PC called RED POST.

That would satisfy many and give us the "here, shut the fuck up" ammo that we need when people bitch at us about post workflow.

my 2 cents.

just so people know where I stand:
I love my red. I love the images. I work with it in every situation and I do what ever I can in my city to help spread the word about this fantastic new technology that I am genuinely giddy about.
I want RED, everyone here at reduser and my colleagues in this city to have amazing success and great experiences with their RED.
 
The recent post on http://prolost.blogspot.com/ is a very clear explanation of linear light imaging and it's relationship to film look. It explains alot about understanding exposure and why Build 16 is such a wonderful step.

In particular Stu points out that it's in the conversion from linear to log that noise is amplified exponentially in the blacks. In fact on the linear signal noise exists just as much in the fully exposed portion of the image as in the blacks, it is evenly distributed across all values. Its only in the redistribution of values for proper viewing that the noise "appears more in the blacks."

Stu Maschwitz is my idol.

So now I'm wondering can you tell us about the mathematical distribution of RedSpace. How does it compare to Rec709 exactly? What is the difference between Redspace and Redlog?

Or is Redspace, as I suspect, just beautiful women with bubble helmets and mylar bikinis, orbiting slowly around one another in zero-g.

IBloom
 
This is starting to become a workflow discussion.. I probably should start dividing this thread and put it where it belongs :)
 
Jarred Land said:
This is starting to become a workflow discussion.. I probably should start dividing this thread and put it where it belongs :)
Click to expand...

Ok.

I hear ya. I just wanted to be clear. You guys are doing amazing things.

I am grateful and curious at the same time.

David
 
Jeff Kilgroe said:
WTF is wrong with you guys? REDCINE is a free app, it needs to stay a free app. All planned features included. I don't see where throwing $500/$1000/$1500/whatever per customer at it is going to make it a better piece of software. ...Just my opinion.
Click to expand...

Jeff, I'm a small company so I understand the idea of keeping expenses down. I am not into throwing money around, so when I bring up the idea of charging for a "Digital Lab" app it's because I want the best tool I can get to handle this footage. Even if it's a $1000, if the app speeds up my workflow by 50% the ROI will be huge for me. In my market, the post side of things is still a hard sell right now. I don't blame Red for this. They have put out a tool that does transcode footage. But some clients have not been into it. If there was an app that was faster and more integrated with NLEs, I believe it would be easier to sell people on the entire process.

I can't even imagine the hard work that is going into making Build 16. And then there are the two new cameras, and Red Ray development. There is a lot going on. Without being on the inside it's impossible to know what's being deemed a priority. Maybe Redcine is. If they are able to make it an even better tool without charging for it, then I will be as happy as anybody. But there is a lot on these guys plates, so exploring ways of getting more hands on deck seems logical to me.

I'm going to hold off commenting any further on this though because quite honestly I think the Red team knows what they are doing and I'm not really contributing much useful info here.:)
 
ibloom said:
The recent post on http://prolost.blogspot.com/ is a very clear explanation of linear light imaging and it's relationship to film look. It explains alot about understanding exposure and why Build 16 is such a wonderful step.

In particular Stu points out that it's in the conversion from linear to log that noise is amplified exponentially in the blacks. In fact on the linear signal noise exists just as much in the fully exposed portion of the image as in the blacks, it is evenly distributed across all values. Its only in the redistribution of values for proper viewing that the noise "appears more in the blacks."

Stu Maschwitz is my idol.

So now I'm wondering can you tell us about the mathematical distribution of RedSpace. How does it compare to Rec709 exactly? What is the difference between Redspace and Redlog?

Or is Redspace, as I suspect, just beautiful women with bubble helmets and mylar bikinis, orbiting slowly around one another in zero-g.

IBloom
Click to expand...

I echo Ians request for an explanation of Redspace!
 
I've spent thousands on very buggy apps. I've gotten shareware or free that is solid. Spending money doesn't magically make things less buggy. I really appreciate the freeness of the software.
 
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