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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...

Tim Whitcomb said:
Here is the PRORES, 16BIT TIFF and DNxHD module... works great NOW and doesnt turn a RAW Digital CINEMA camera into a video recorder:closedeyes:

REDrocket.jpg
Click to expand...

tim, a rocket is not only for dailies and offline files, imho its main advantage is to be able to grade in full debayer while the GPU can take care about the layers.

a prores module would make perfect sense...its a pretty smart move from arri with prores and pretty smart from aaton with DNxHD.

the proxy module is perfect for viewing purposes with h.264.
if you can have a prores module it doesnt kill the rocket...the rocket is for grading
(i see the prores module simply as instant-offline-datamaker-your editor smiles-module....the proxy module is the your director smiles like balu the bear while watching dailies on his ipad in the hotelroom, or having a ultralight wifi watchman, all watchmen i used suck pretty much in one or another way-----both are damn cool for the......and also a REDproxyapp would be great, which can record the wifi signal to the ipads storage....again no copying needed, .....erase a step when you can)



i even go further....let the prores module be able to get a (wifi) audio signal and sync in camera.
and let the prores module letterbox the files to the aspect ratio you did shoot and the settings you did choose on camera
put your prores files on the mac, and the raw files can be stored on your online station.

you know, the editors like to edit, they edit footage coming from various cameras (ergo, mostly no rocket in the NLE station)....the more people involved get the feeling with this camera system you can concentrate on the creative parts and not on the dull workflow parts, the more they like a system and use it.

a director pretty much gets bored, if you explain him a workflow...if you can erase steps, erase them.




NOTE: I personnaly wish an All In One system.....load r3d`s, sync bwf files, edit online, grade in the same timeline
pretty much a rocket enabled smoke in a way....no waiting no xml, edl etc. one for all.

BUT thats me, and there are people who want their editor to be happy, because their editors are highly creative, same goes for their colorists, happy=more creative
 
Cüneyt Kaya said:
tim, a rocket is not only for dailies and offline files, imho its main advantage is to be able to grade in full debayer while the GPU can take care about the layers.

a prores module would make perfect sense...its a pretty smart move from arri with prores and pretty smart from aaton with DNxHD.

the proxy module is perfect for viewing purposes with h.264.
if you can have a prores module it doesnt kill the rocket...the rocket is for grading


i even go further....let the prores module be able to get a (wifi) audio signal and sync in camera.

put your prores files on the mac, and the raw files can be stored on your online station.

you know, the editors like to edit, they edit footage coming from various cameras (ergo, mostly no rocket in the NLE station)....the more people involved get the feeling with this camera system you can concentrate on the creative parts and not on the dull workflow parts, the more they like a system and use it.

a director pretty much gets bored, if you explain him a workflow...if you can erase steps, erase them.
Click to expand...

QFT!

No need for a RED Rocket™ 2 either! Rocket is for grading. Want to grade 3D, go to a place with Pablo or whatever system that was that uses two Rockets.

h.264 was made for editing! ...now that we can accelerate CS5 with a $500 card. It was made for editing because it makes grading so nasty that it stops your editor (or me) from getting off track with the gorgeous imagery. It does let you grade enough to get a good idea of what you would do, and communicate that if you want by ways of a render. But it is nasty enough that nobody would finish off of it, preventing crap, since at the very very least people will be recording a 4:2:2 1080p, or doing things right and recording h.264 and REDCODE RAW!

Cüneyt Kaya said:
NOTE: I personnaly wish an All In One system.....load r3d`s, sync bwf files, edit online, grade in the same timeline
pretty much a rocket enabled smoke in a way....no waiting no xml, edl etc. one for all.

BUT thats me, and there are people who want their editor to be happy, because their editors are highly creative, same goes for their colorists, happy=more creative
Click to expand...

I agree. This would be a Rocket enabled and CUDA accelerated CS5 type situation, with AE also fully accelerated for non-insane VFX too. But I am thinking that h.264 will be god-sent, to keep you off grading when you should be cutting, and cutting, and cutting... and cutting.
 
lol... I didn't say STFU, I said QFT (quoted for truth) :thumbup:

I am talking about CS5, which promises to be amazing. I am not knocking FCP at all, or Avid, I am only focusing on CS because that is what I am leaning towards ATM (at the moment).

Read my post again and you'll see that I am agreeing with you.
 
Roberto Lequeux said:
lol... I didn't say STFU, I said QFT (quoted for truth) :thumbup:

I am talking about CS5, which promises to be amazing. I am not knocking FCP at all, or Avid, I am only focusing on CS because that is what I am leaning towards ATM (at the moment).

Read my post again and you'll see that I am agreeing with you.
Click to expand...

ma english, sorry, deleted post
 
No problem!

I'd love to know what do you think about the rest of my post though. CS5 with GeForce 480 and an i7 seems like a machine that would cut H.264 1080 like butter, and Adobe is boasting about CS5 having long form timeline stability. They said something about several thousand clip timelines being very stable.
 
Roberto Lequeux said:
No problem!

I'd love to know what do you think about the rest of my post though. CS5 with GeForce 480 and an i7 seems like a machine that would cut H.264 1080 like butter, and Adobe is boasting about CS5 having long form timeline stability. They said something about several thousand clip timelines being very stable.
Click to expand...

i used adobe products a lot (even did cut 60 hrs of footage for documentaries with premiere 1.5)

but i have a photographic memory ( i never change data names for example, i know a126_08 is scene 8 and take 8, and i never clap with numbers, always with things that i connect with the scene....for example a father son dialogue is for me a bill cosby scene)
so data management is not a problem for me....but it is a problem of adobe.

knowing how to get a testostoron PC for 3-4k, CS5 is for me personnaly interesting.
But i always hated to sync manually, this just stresses me so much i switched to fcp.

ok, adobe can read fcp xmls...you can do sync and linc in fcp and then transport it to premiere.

but if i use premiere i will do it on a PC, because i will get a T-Rex PC for the price of a average MacPro. (Dont want to have two editing stations, because datatransfer stresses me too, and premiere worked for me on PCs, not on Macs)

If mercury really works, and syncing is there, i will do it i guess.

(But again, i am beting on Marks secret NLEfinisher which he said will cost much less then a smoke hehe)
 
I realize that CS5 is all hypothetical now, but it really feels like Adobe took FCP's dominance seriously, and I would bet atm that CS5 will be at least 85% of what they say it will be. They sound ready to roll.
 
More than just a monitor!

More than just a monitor!

Nice mock-up Thomas.

Ipad could be scriptboy/ electronic storyboarder/ teleprompter/ wireless monitor - recorder/ alternative RED mote/ remaining media calculator/ stopwatch/ good takes - log device, etc. Can anyone do a photoshop of iPad as an on location quick editor of proxy video for later EDL export?

Thomas Koch said:
ipadRED.jpg


Awesome news!!!!
Click to expand...
 
Holly jesusssss!!!
See you in a couple days
thank you again
 
Jens Jakob Thorsen said:
ProRes and H264 module will sell, a h264 module only is just weird and obsolete;-)
Click to expand...

H.264 is a standard, not a codec. I think you are seriously underestimating the scope for a stellar capture/intermediate H.264 codec. It has every capability of producing ProRes quality at a fraction the file size.
 
Cüneyt Kaya said:
tim, a rocket is not only for dailies and offline files, imho its main advantage is to be able to grade in full debayer while the GPU can take care about the layers.

a prores module would make perfect sense...its a pretty smart move from arri with prores and pretty smart from aaton with DNxHD.

the proxy module is perfect for viewing purposes with h.264.
if you can have a prores module it doesnt kill the rocket...the rocket is for grading
(i see the prores module simply as instant-offline-datamaker-your editor smiles-module....the proxy module is the your director smiles like balu the bear while watching dailies on his ipad in the hotelroom, or having a ultralight wifi watchman, all watchmen i used suck pretty much in one or another way-----both are damn cool for the......and also a REDproxyapp would be great, which can record the wifi signal to the ipads storage....again no copying needed, .....erase a step when you can)



i even go further....let the prores module be able to get a (wifi) audio signal and sync in camera.
and let the prores module letterbox the files to the aspect ratio you did shoot and the settings you did choose on camera
put your prores files on the mac, and the raw files can be stored on your online station.

you know, the editors like to edit, they edit footage coming from various cameras (ergo, mostly no rocket in the NLE station)....the more people involved get the feeling with this camera system you can concentrate on the creative parts and not on the dull workflow parts, the more they like a system and use it.

a director pretty much gets bored, if you explain him a workflow...if you can erase steps, erase them.




NOTE: I personnaly wish an All In One system.....load r3d`s, sync bwf files, edit online, grade in the same timeline
pretty much a rocket enabled smoke in a way....no waiting no xml, edl etc. one for all.

BUT thats me, and there are people who want their editor to be happy, because their editors are highly creative, same goes for their colorists, happy=more creative
Click to expand...

horses for courses. i find most exceptional offline editors (storytellers) are not DI artists - and vice versa find DI artists who are not much for telling strories, but utterly fantastic at polishing them. all about the talent.

We prefer to record RAW and process in post. Module gives you news speed. RR gives you minuties in a CF workflow. Fast enough for most of our productions.

like I said, we all have our own uses and needs. horses for courses.

I think its wonderful to have all these choices.
 
i suppose RED already has resources to edit H.264 without problems on some editing platforms.
 
Kaku Ito said:
i suppose RED already has resources to edit H.264 without problems on some editing platforms.
Click to expand...

Native R3D support is also growing rapidly in alot of apps.
There'll be some very cool announcements at NAB.

However, h.264 support (and other codecs in the works also) will open up alot flexibility for a variety of devices and workflows.
 
Do those "cool announcements" have anything to do with the fact that epic.red.com says that FCP has native R3D support? Or is that simply a loose interpretation of the fact that Color works off of the raw?
 
Smart, elegant

Smart, elegant

I have been hoping RED would go this way for some time - I was looking into how to make the NanoFlash do basically the same thing. It would be wonderful to get at the edit on set for some projects (and NOT news... some client projects just require a kind of speed that means taking advantage of every moment in a parallel fashion v/s a serial one).

Having a client approved rough edit before the day is done means having more time to get the image just right - using a RR or "old fashioned" CPU workflow.

Dear RED elves - I find your ever increasing product offerings to be quite sexy. I look forward to my Epic-X and this nifty little add on. Should be quite a treat to work with.
 
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