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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...

Max M. said:
It's great, but the 16x9 output is a problem now and slow-motion is a problem. And it's need power, camera gets bigger, etc. A module the size of the quad power module with inside a prores recorder, with full metadata support en full slow-motion support would really be a godsend and is different than an external recorder... and as robert says it would kill all the producers excuses to use a alexa or c300, Red would be absolute be a killer complete camera then, the-every-option-you-want-camera :)
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Agreed, that would be great, maybe sounddevices could make it for them.
 
Mark Toia said:
She's an OLD thread this baby.... and it's about 1.5 years to late... but hey!

Swap this out for 4k PRO RES for me... or DNXhd, :) and you've sold me !..... (oh and charge me double) :)))
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And it's still the most beautiful module. :)

1271129105.png


I hope this thing isn't dead now that Deanan has moved on. It's crazy how much demand still exists... I hope RED is reading, even if silently!
 
Brian D. Goff said:
Guys, get a pc with red rocket, make presets in redcine and render the stuff out the way you need it - nearly as fast as making back-ups (witch you do at the same time while transcoding to prores). All the benefits of raw and in praxis not really a time killer. If you are shooting news and need to hand over the original disk after the gig, then get an Alexa.
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Agree with this, although the "module" whatever would be, will be cheaper (than Rocket).
 
love it, want it, need it, would be great for ENG work in the field as last I checked was a bitch to turn a Mac Pro tower into a luggable to take to Kabul

Ron
 
Häakon said:
And it's still the most beautiful module. :)

1271129105.png


I hope this thing isn't dead now that Deanan has moved on. It's crazy how much demand still exists... I hope RED is reading, even if silently!
Click to expand...

Were did that 3D render come from? Who posted it originally?
With those antennas it looks like it might be wireless, so like a TeraDek Cube which would be great.
Lets hope Red are listening
 
This would be a God send if Red would make this...... Please, Please!
 
Were did that 3D render come from? Who posted it originally?
With those antennas it looks like it might be wireless, so like a TeraDek Cube which would be great.
Lets hope Red are listening
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This image was posted by Jarred earlier in this very thread (original post).
 
That's what it sounded like. I saw him at the Scarlet rollout at Red Studios, so yes it must have been pretty recent. Does anyone know where he went?
 
Peter Moretti said:
That's what it sounded like. I saw him at the Scarlet rollout at Red Studios, so yes it must have been pretty recent. Does anyone know where he went?
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He is still around the LA area offering Motion Picture and Film consulting services. I follow him on Twitter, etc.
 
Peter Moretti said:
That's what it sounded like. I saw him at the Scarlet rollout at Red Studios, so yes it must have been pretty recent. Does anyone know where he went?
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There was a Recon thread announcing the departure.

http://www.reduser.net/forum/showthread.php?69569-What-would-Deanan-do

roryhinds said:
With those antennas it looks like it might be wireless, so like a TeraDek Cube which would be great.
Lets hope Red are listening
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Yes, the announced module has a wireless capability. Please feel free to read the original post of this thread. :)
 
Mark Toia said:
...Swap this out for 4k PRO RES for me... or DNXhd, :) and you've sold me !..... (oh and charge me double) :)))
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Mark, the trouble with that is the data rate - CF cards would not be sufficient - both speed-wise and capacity-wise. ProRes at 4K is a lot bigger file then the actual RAW 4K... Even 2K ProRes might be too much for CF cards... H.264 in HD is different story thou and with HW like the Legato HD - this is not impossible. In fact - if that module just picked up the already scaled HD signal sent to the HDMI / HD-SDI and saved that as H.264 (with the preset look applied in the menu) - that module could be even smaller then the original pictured...

Just my two yen...

Peter
 
With not simply use a Sound Devices PIX240? Seems the "perfect" companion to Epic...
 
Corrado Silveri said:
With not simply use a Sound Devices PIX240? Seems the "perfect" companion to Epic...
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What he said. PIX240 gives your ProRes OR DNxHD. And it will auto record/stop with your EPIC/Scarlet. Redgamma3's improved color science in the monitor path is going to make this a very popular, simple workflow IMO :)

Also, you don't have to mount to the camera - 90% of the time you have an HD-SDI going from the camera to a monitor on set - you can place the PIX240 at the monitor and loop the HD-SDI through it. Set it up and forget it. When you call wrap - your dailies are done. Also - if you use a BOXX Wireless systems - you get full start/stop functionality wireless from camera to PIX240.
 
Corrado Silveri said:
With not simply use a Sound Devices PIX240? Seems the "perfect" companion to Epic...
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Hi Corrado,

The answer is simply because producers don't care for work arounds. If we can tell them "Yes you can use an Epic camera too shoot directly to ProRes or DNxHD and edit straight away" - And that is standard from rental house to rental house because it's a fully functional module that any good rental house will stock - Then all those TV spots that the Alexa is owning will start coming back to Red Epic.

The PIX240 just doesn't cut it because firstly it doesn't record slow-mo live. Playing back a shot in order too record each slow-mo shot simply won't do, their are time constraints on set - a one minute shot at 300fps will take 12/12.5 minutes to record. Then you have missed shots by human error where a card is taken out before being recorded etc. It would end up being a fiasco on a great many shoots with the DIT resorting to transcoding everything anyway. More Importantly however, it also doesn't record HDRx and therefore capture the maximum dynamic range. As such the Alexa produces a better image at 1080p as is evident if you compare the feeds. The module needs to capture a LOG version of the HDRx so that as much information from the sensor is captured in the ProRes. The PIX240 is fine for offlining 24/25fps footage but it is not a replacement for a simple workflow such as the Alexa's that attracts producers, post houses etc to choose it for their shoots.

With a dedicated module producers would be able to see that they can shoot exactly the same simple workflow they enjoy with the Alexa, they'd be able to get more dynamic range and shoot upwards of 300 frames per second. They'd also have the option of reverting to a higher res version in RAW for more possibilities at a later date. And it'd cost less than an Alexa to hire! Producers would flock to it in droves.

Unfortunately shooting 5K RAW does not make Epic the GOTO camera. Many producers see that as an issue that will cost them money and wouldn't see the PIX240 as the answer. Sad but true.

Paul
 
PaulClements said:
Hi Corrado,

The answer is simply because producers don't care for work arounds. If we can tell them "Yes you can use an Epic camera too shoot directly to ProRes or DNxHD and edit straight away" - And that is standard from rental house to rental house because it's a fully functional module that any good rental house will stock - Then all those TV spots that the Alexa is owning will start coming back to Red Epic.

The PIX240 just doesn't cut it because firstly it doesn't record slow-mo live. Playing back a shot in order too record each slow-mo shot simply won't do, their are time constraints on set - a one minute shot at 300fps will take 12/12.5 minutes to record. Then you have missed shots by human error where a card is taken out before being recorded etc. It would end up being a fiasco on a great many shoots with the DIT resorting to transcoding everything anyway. More Importantly however, it also doesn't record HDRx and therefore capture the maximum dynamic range. As such the Alexa produces a better image at 1080p as is evident if you compare the feeds. The module needs to capture a LOG version of the HDRx so that as much information from the sensor is captured in the ProRes. The PIX240 is fine for offlining 24/25fps footage but it is not a replacement for a simple workflow such as the Alexa's that attracts producers, post houses etc to choose it for their shoots.

With a dedicated module producers would be able to see that they can shoot exactly the same simple workflow they enjoy with the Alexa, they'd be able to get more dynamic range and shoot upwards of 300 frames per second. They'd also have the option of reverting to a higher res version in RAW for more possibilities at a later date. And it'd cost less than an Alexa to hire! Producers would flock to it in droves.

Unfortunately shooting 5K RAW does not make Epic the GOTO camera. Many producers see that as an issue that will cost them money and wouldn't see the PIX240 as the answer. Sad but true.

Paul
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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.
 
PaulClements said:
The PIX240 just doesn't cut it because firstly it doesn't record slow-mo live. Playing back a shot in order too record each slow-mo shot simply won't do, their are time constraints on set - a one minute shot at 300fps will take 12/12.5 minutes to record...

Paul
Click to expand...

Good point.
 
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