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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...

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You are seriously worried about the damn Gig-E connector? My brain is melting.

RED, you get it. . . and I hope you continue to get it.
 
I'm thrilled at the decision to use a Lemo [or Lemo-esque] connector instead of the traditional jack. Deanan is 100% correct - a jack has no place on a camera... it'll only get trashed.

Any way to incorporate a hinge in those antennas? Or at least a breakaway section of sorts so that when we break the antenna, it's the antenna that breaks and not the actual connector in the module!
 
Brook Willard said:
I'm thrilled at the decision to use a Lemo [or Lemo-esque] connector instead of the traditional jack. Deanan is 100% correct - a jack has no place on a camera... it'll only get trashed.

Any way to incorporate a hinge in those antennas? Or at least a breakaway section of sorts so that when we break the antenna, it's the antenna that breaks and not the actual connector in the module!
Click to expand...

It appears to me they already have a hinge... if you look at the nearer of the two, it shows a "break" just above the connector at the bottom, and it has a crescent-shaped profile on the upper-edge of the break, as if that's where it would atrticulate.

In short, it looks just like one of the articulating antennas on my wireless access point.

-sc
 
One question comes into my mind:
The module encodes a 1080p stream - will a iphone or even the ipad be able to decode 1080? Seems a lot of power will be needed for that.

Would it be possible to switch between 1080p, 720p and SD for "weaker" viewing devices? Or even encode multiple streams with different online links?

I'm pretty sure Red will find a solution for the gigantic iphone 3G crowd, but just wanted to know if there are any plans yet.
 
Grant_Wood said:
1) What is the limit of simultaneous streams that the module can handle?

2) In addition to "live streaming", can you stream any clip from a CF card? Multiple clips? Is this managed by a web interface?

3) Is there an open API to be able to write our own interfaces for this?

4) Does the streaming server support time displacement so you can jump to a point in a timeline? ie: start=XXX

5) I'm wondering if Red has plans for using modules like this beyond the camera itself? for instance, the ability to drop this module on the Red Station in some way, and have it transcode media while copying between storage devices? That could be just as huge from a workflow perspective especially where its not practical to have this module on the camera itself.

6) Can the module be used off the camera to provide access to stored media? ie: Stream clips from a Red Station.
[edit]
just to clarify, I understand camera modules use something like PCIe as a backplane and the red Station doesn't use this. I'm suggesting a possible Red Station Module that has the ability to connect a Camera module and includes the typical esata, FW800, USB2 connections of a red station module to interconnect with the other media modules.
[/edit]

7) In places where em interference or lots or network traffic make wifi impractical, can we assume streaming access is also available over gigabit ethernet?
Click to expand...

Interesting questions above, and I understand that you can't answer any above no.7 yet, but I would just like to put a request for the API in here. I would love to see some kind of centralized data management here to go hand in hand with this.

Ideally I would like to system which works a little like Adobe Story but with the following specific features:

System based around a centralized script or shooting plan(for docs) centric database.
During pre-production & previz all shot plans, storyboards, animatics etc are hooked up to the story/script.
During shooting 2ndAC can link an auto log of clip metadata of what's being shot & camera notes to this database on set while shooting using his ipad, iphone or laptop (maybe even integrated with movie*Slate app)
Continuity can do a similar thing with their notes. So can any other on set who might need to.
All notes link to both any module generated proxies and R3D files and use metadata to make this connection harder to break and enable automatic reconnection as media is transferred to various destinations such as for dailies viewing (Director and others can annotate further during viewings and have these sync to central database and individual clip metadata) or onto edit stations.
Editor can add own notes during their initial viewings.
Based on a set of preferences (omit shots marked as no good by 2nd AC for example) the Editor will be able to conform the shoot onto a multicamera style timeline according to the script and scenes and automatically place all media into appropriately named and organised bins. Viola a rough cut made in seconds using a multicamera edit switching technique.
Basically I would love to see tapeless workflows that leverage the metadata and data-centric workflow database style throughout a whole project end to end, thus eliminating much of the laborious repetitive organizational tasks that take away from our creative time.

If Red can provide the pieces of the puzzle to make this happen within their part of the workflow (on camera wifi enables the possibilty of all this) and allow for an API or even create their own software to do this I will be in heaven. There are things like adobe story and scriptwriting/production software that hint at this but we need it to be edit suite and scriptwriting software agnostic and update itself live from the cameras during shooting.

Or am I :out: ?
 
Leif Thomas said:
One question comes into my mind:
The module encodes a 1080p stream - will a iphone or even the ipad be able to decode 1080? Seems a lot of power will be needed for that.
Click to expand...

The iPad is actually incredibly poweerful when it comes to video. I put a 1080 500mb h.264 video file that is about a minute long on it and it plays flawlessly.
 
Sounds like Jim has other format modules in mind. How cool would it be to set out on a shoot with a ProRes or HDDNX module for recording edit proxies separate to the Redcode files, depending on what the post house wanted?!

This company continues to astound me. It's like, when do they stop making so much bloody sense and start behaving like the rest of the industry? Please don't let the bubble burst.
 
Graham Foulkes said:
I am wondering if these modules could be used to record to a format that can be edited on final cut version 5 this would allow me to use my existing non intel imac for editing with the scarlet.
Click to expand...

Buy a new mac before you buy scarlet. Seriously you shouldnt be trying to edit anything on a PPC iMac its not an editing platform.
 
Shane Betts said:
Sounds like Jim has other format modules in mind. How cool would it be to set out on a shoot with a ProRes or HDDNX module for recording edit proxies separate to the Redcode files, depending on what the post house wanted?!

This company continues to astound me. It's like, when do they stop making so much bloody sense and start behaving like the rest of the industry? Please don't let the bubble burst.
Click to expand...

Based on a conversation several of us had with Jim at RED day, my interpretation would be that you are unlikely to see a ProRes module any time soon, if at all. Not trying to put words in his mouth but that is what I came away believing. Just FWIW.
 
I have an 8-core mac pro and I can't edit Canon 5D h264 files in real time. too much decode to playback smoothly. RED proxies at 2K are great though!
 
Terry VerHaar said:
Based on a conversation several of us had with Jim at RED day, my interpretation would be that you are unlikely to see a ProRes module any time soon, if at all. Not trying to put words in his mouth but that is what I came away believing. Just FWIW.
Click to expand...

That'd be a damn shame. However...

The Penelope boasts the feature of one camera for all jobs (in theory) but, if you accept that a 5k digital camera with 125fps and 13.5 stops DR negates the need for a film camera, the one camera theory comes down to deliverables. But Aaton seem to have made a tactical error in running with HDDnx, aligning themselves with only Avid post paths.

Jay has come up with a lovely way to record 720p video files direct from the R1, the Epic makes that 1080 I believe. There are devices out there that can record from HDSDI to ProRes (AJA Ki Pro for one - although it could be smaller) and, with Media Composer 5 able to work with ProRes, that could be all we need to be able to deliver, from the shoot, exactly what the post house wants - industrial shoot, TVC, feature - and without half an hour on the bench with screwdrivers.

One camera. What are we shooting today?
 
Thomas Koch said:
I have an 8-core mac pro and I can't edit Canon 5D h264 files in real time. too much decode to playback smoothly. RED proxies at 2K are great though!
Click to expand...
Canon's implentation of H.264 is not efficient at all. H.264 comes in many flavors, and depending on the GOP structure, compression level, and I-frame placement, the codec can be configured to be better suited for editing or for distribution. I have no doubts that RED will provide a workable solution.
 
I know it's a little off topic but...

Has any of what I mentioned in my post a couple of pages back with regards to a database centric, workflow management system from script to post been discussed here before elsewhere?

If so did anyone come up with worthwhile solutions or thoughts on whether it would really be usefull and could be actually be implemented?

I only posted it here because it kind of fits in with the workflow theme that the proxy modules raise.
 
Okay, glad to see others have got excited about the possibilities back around page 8 or 9. I skipped to the official RED posts. :emote_couch:


Loving this module though.

Like some others I think it would be great if you could record Prores to CF and stream h264 at the same time from it. - great wifi monitoring and dailies takeaway and interfacing possibilities + nice editing codec for offline or even online for programmes that don't need more for broadcast delivery.

For the person a ways back wondering about webcasting I'd imagine it would also do the 720P mode too which would be a little closer to webcast standards, you could always step down very gracefully from 1080 to SD anyway through cheap boxes or cards like the matrox MXO2 mini though always nice to have it in one unit.
 
Häakon said:
Canon's implentation of H.264 is not efficient at all. H.264 comes in many flavors, and depending on the GOP structure, compression level, and I-frame placement, the codec can be configured to be better suited for editing or for distribution. I have no doubts that RED will provide a workable solution.
Click to expand...

I could be wrong, but my guess is this a new (in terms of planned development) module and using H.264 is in order to announce the product while they negotiate an appropriate license for ProRes or DNXHD (I'm pretty sure these would both require licensing agreements.) Do not worry, these other formats are certainly on their way.
 
The Canon HDSLR codec is obviously optimized for recording rather than editing. It sucks for editing. It goes at 5 fps on a Core 2 Quad and Sony Vegas in preview mode. I have noticed though, that switching from 32-bit to 8-bit depth almost makes it real time (20 fps).
 
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