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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 :)

Proxy Module...

I agree with Paul Clements the main thing needed to stop producers automatically choosing Alexa is a Red made ProRes / DNxHD module that way they get the direct to edit capability AND the 5K RAW for the grade and the master. This module would be a must buy item and need not compromise Reds 4K and raw beliefs it would actually strengthen them. Like having an Alexa and a codex but much cheaper and with superior resolution.
The other thing that is affecting us is the lack of the pro I/O module , having to explain to every one that they can either use the touch screen or the EVF makes life harder for every one pushing the Epic . The frequent response is you don't have this with the Alexa.
 
I'm currently on the fence: Pix 240, Atomos Samurai or waiting for a RED module.

I'll probably get a recorder now but I would buy a dedicated RED module in a heartbeat at almost any price.
 
Demetri Zuev said:
I'm currently on the fence: Pix 240, Atomos Samurai or waiting for a RED module.

I'll probably get a recorder now but I would buy a dedicated RED module in a heartbeat at almost any price.
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I'm with you on this. Holding out as long as I can.
 
The lack of a full frame, 16 x 9 signal from the Epic requires almost 8% post scaling to get rid of the letterbox if you've recorded the 1080 signal on a device like a KiPro or Nano Flash. In my opinion that's just enough to make the image not good. For those of us who work in Television, the expense and time of transcoding Red footage is extremely significant to every project and budget. Frustrating for me to loose a job to a long term client who is planning his large, Network TV show around a lesser Sony product because it delivers immediate, ready to edit footage from a large sensor. Hopefully a true "clean feed" for the Epic in a full frame, 16 x 9 format will exist some time soon.
 
Kevin Lang said:
Paul, thank you for being the first person to really voice this issue!! Since the Alexa's arrival it has been eating our lunch here. We went from doing several commercials a month to just a handful over the last year!! I love the Red One MX!! It has been a tremendous work horse, the Raw acquisition is top no question. I really enjoy getting Graemes updates making the footage that was shot 4 years ago brand new!! I just feel that all the effort future proofing the system has been a downfall as it has made it irrelevant for the now! I am just frustrated as it seems to be a simple fix on Reds behalf.
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Sadly this has been voiced many times before...I kind of understand the philosophy of protecting the 4-5K image, and it seems to work well in Hollywood and when we shoot features. But the whole TVCmarket is neglegtet, and we have lost out to the great Alexa...I get to choose the camera 90% of the time, but theres is still a lot of talking to be done to convince producers....
 
Jens Jakob Thorsen said:
Sadly this has been voiced many times before...I kind of understand the philosophy of protecting the 4-5K image, and it seems to work well in Hollywood and when we shoot features. But the whole TVCmarket is neglegtet, and we have lost out to the great Alexa...I get to choose the camera 90% of the time, but theres is still a lot of talking to be done to convince producers....
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Dukes, Danes, and Duchesses, things will be ok. I have no internal knowledge but, with NAB around the corner I am betting we will all be eating that dish that is best served very cold. Whatever unit 'our unit' is cooking up will be amazing and a true proxy companion to the Epic. Now, I don't think it will be cheap. But I truly believe whatever they are cooking up will be a truly spectacular piece of hardware. Rome wasn't built in a day and yet we sit in Metropolis... Arri has been around for ages and they have been left in the dust... All that remains is furthering the distance which Jim has already said is as good as done. What if Red were to build into the new sensor updated electronic to offer live streaming to an Ipad? I am not saying this will be free but the writing is on the wall. The Epic will be even more advanced that any other camera on the planet. For goodness sakes... 300 FPS?!?!?! It's bananas... "This shhhh!... is" ok let me stop.

Jarred, Brent, The Bomb Squad and Jim aren't up til 3, 4, 5am every day playing cards... Meanwhile the rest of the "Big Guys" are going for massages and becoming complacent, maybe they woke up but- too late...
 
Jarred Land said:
there are a ton of proxy options out there that work with Epic to give you ProRes or H.264 or whatever flavor of files you want.. i think there were more proxy recorders shown at NAB than new cameras :)

we are still working on something.. but the priority was lowered because of the above. But take a look at whats out there right now.. there are recorders that will name your files the same as your R3D's and match timecode and start/stop off the camera trigger... and although they might not fit perfectly onto the back of the Epic like a module does.. most of them rigged on to Epic equal half the size of an Alexa.. and you still get the 5K raw file which the Alexa can't do :)
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Its been a long time since this last post from some one at red regarding the module...
New products have arisen since then regarding recorders and transmitters, would RED care to share any new info on this?
Lots of folks are getting their cameras now, options have increased! But this module looked so god damn pretty! :)
 
no, also really hoping they are still working on it and it's a combined proxy/prores module :)
 
There's something to be said for a built-in, streamlined proxy module...but with the firmware improvements being made to devices like the PIX240, we're starting to find a very powerful solution to this ProRes/DNXHD generation dilemma. The PIX is now a better standalone monitor, which can work as an onboard or somewhere down the line. On lighter crewed jobs, it's also a great way for the director/scriptie/client to review playback without tying up the camera. It may not be a perfect solution, but it's getting closer as the days go by...
 
I use a PIX240 with my Epic, and the results are good. But it's unwieldy - it unbalances the camera, and requires power.
An H.264 / ProRes module from RED would still interest me. Relatively easier to manage than an external recorder.
 
Without a pix, my scarlet setup (17-50, mattebox, follow focus, fluid drive, shoulder rig, bebob140) weighs already 10,5 kg.
The pix has all the great features (especially sound!). But it's quite big and heavy for doc work requirements....

Would have loved to hear anything new about the famous Red proxy module...

As well as about the V2 50-150 RPZ, btw...

Patience!
 
James Bridges said:
I've been using my NanoFlash, great results. Light. Less power. Hot swapping.
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Sorry, maybe these are stupid questions:

Does start/stop triggering work from the camera to the nano?

Can you easily reconnect to the R3D'as later in post?
 
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Also check out the new teradek cube, just placed an order. Does proxy h264 recording but the new big feature is that it can record it onboard to a microsd card and then upload to a server at a later time. I used the old cube wi Liveplay from light iron and it was pretty slick, but required a network and a live constant wifi connection to record proxies. But the new version does away with that need completely. Full h264 recording onboard and a built in 2 hr battery, built in screen. Could be interesting... Wil post results once I get it and use it... http://www.teradek.com/thenewcube.html
 
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