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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 :)

Pro Res?

David Battistella said:
True. Interested to hear more details. I feel pretty strongly about R3D.

Apple (not just prores) may be the absolute broadcast standard now.
Click to expand...

Prores has many natural places to be, no matter how much I like my R3D's
 
The reason this is great:

Red shooting Raw = expensive
Alexa shooting Raw= expensive
Alexa shooting Prores = cheap

From a rental perspective this is huge- it's one of the main reasons productions shoot Alexa prores for 90% of jobs (DIT and post costs).

Wish we'd had this when Epic shipped- we'd be in a very different marketplace right now.

Thanks for listening guys.
 
Jeff Brown said:
The reason this is great:

Red shooting Raw = expensive
Alexa shooting Raw= expensive
Alexa shooting Prores = cheap

From a rental perspective this is huge- it's one of the main reasons productions shoot Alexa prores for 90% of jobs (DIT and post costs).

Wish we'd had this when Epic shipped- we'd be in a very different marketplace right now.

Thanks for listening guys.
Click to expand...


REDRAW is expensive only because the post houses have conditioned many producers to think that way... Much like my first HVX200 shoot (oh so many years ago) where the post house raised a stink that the HD files would overwhelm their edit bay. I showed the client agency a test shoot & edit in their office on a laptop, and the post house was fired.

REDRAW adds no expense in my workflow.

***Edited to add that this will make life easier when dealing with some producers.
 
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RAW does not have to = LAZY :)

or in other words to lazy to shoot RAW.

I would have liked to see a take anywhere windows, mac, linux, thunderbolt 2 REDCINE X module, but that is just me.

d
 
Jpeg is more like h.264...

prores (4444) ends up below DPX, but a wee bit above h.264

I hope they don't limit it to UHD/4k, but allow scaled scaled 1080/2k.

For 6k, I'd shoot R3D. For offlines prores422/1080 directly would be great (in duet with RAW).

But I know quite a few gigs where RLF 2k/1080 PR4444 would be just what the doctor ordered.

The flexibility by giving this option, is wanted/needed for a lot of situations.

Hope it well implemented.
 
I am guessing it will be full frame as any scaling requires processing power.

Also, I would think (hope) that RED is putting a full priority on the quality of the Prores file as well, but considering the quality of their HD-SDI pipe now i'm sure that will not be a problem. It takes some really good algorithms and computing power to scale things nicely and avoid any sorts of problems with the image.

I think a 6K proxy or a 6K 4444HQ would most likely be easiest to do, but you have to have the onboard power to compress to Prores, but they do it with R3D now so probably no big deal.
 
Jeff Brown said:
Red shooting Raw = expensive
Alexa shooting Raw= expensive
Alexa shooting Prores = cheap
Click to expand...

You should probably qualify Expensive. Machine / render time, external storage, specialty HW (e.g. RED Rocket, Codex, etc...), etc... To be clear, I am not disagreeing with your assertion, I just don't know what expensive means to you.

I see the option of Prores as nothing but a good thing for those that desire it.
 
Kuddos to RED for not only leading the industry, but adapting to the current one. It seems like I may not be able to stand firm with my Epic MX, but may have to bite the bullet and upgrade to dragon, so I can then load up a weapon. Spot enticing Jarred...it's too hard to resist!! ;-)
 
A dual slot side SSD module would be amazing. One mag for R3D recording, the second for an assortment of Pro Res codecs in: 1080, 2k, UHD, and 4k resolutions. RedLogFilm (Log C equivalent) or RedGamma(4) colorspace. Options only help. I wouldn't be surprised if the hi-end Carbon Weapon is equipped with a 4:3 sensor.
 
I i have a feeling it's probably limited to the cropped resolutions in camera already. Don't know how easy it would be to get scaled 1080/2k...but one can only hope that comes with the prores!

Gunleik Groven said:
Jpeg is more like h.264...

prores (4444) ends up below DPX, but a wee bit above h.264

I hope they don't limit it to UHD/4k, but allow scaled scaled 1080/2k.

For 6k, I'd shoot R3D. For offlines prores422/1080 directly would be great (in duet with RAW).

But I know quite a few gigs where RLF 2k/1080 PR4444 would be just what the doctor ordered.

The flexibility by giving this option, is wanted/needed for a lot of situations.

Hope it well implemented.
Click to expand...
 
I would love an option to record the overlay on the prores files. I love being able to edit the proxies if needed before matching to r3ds. I also love just editing r3ds, but some people don't upgrade their computers fast enough...
 
Nick Morrison said:
Wow. This is kinda big.
Click to expand...

Correct. ProRes has been an adopted industry standard mostly due to ease of use and speed.

We've been using it for delivery, transcodes, and proxies. Now having the option to record in that file type offers something special towards productions that have adopted the pure ProRes workflow.

Which suddenly makes certain other cameras rather uninteresting if you ask me. Especially for 4K and 4K+ production.

RED has been working really hard on Weapon. This one feature changes a whole lot of things.

Also, don't forget REDCODE RAW. I just updated a gig to DRAGONcolor2 because of that Color Science advancement. We've been discussing (some have been "bitching") about ProRes for a long time, but don't forget for a long time the real focus was to have quality compressed raw in camera. For many, especially features, that's still going to be the good stuff.
 
Just like the interchangeable OLPF.

choices are good. Everyone has different needs.
 
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