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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 :)

RED & ATOMOS Ninja

Justin O'Neill said:
Yeah HDSDI out is 10 bit and 1920 x 1080. You can choose to overlay menus, only frame guides, or a pure clean feed. Unlike the RED One the HDSDI out is VERY high quality.
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Justin, Do you know if the HDMI is 8 or 10 bit ?

thanks,

Dave
 
Justin O'Neill said:
There are rear battery modules coming from RED that take the REDvolts. They should be out by the end of the year.
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Oh good!

I wasn't planning on dropping my deposit until near the end of the year (gotta lock that price down), so I should be good to go.

Mini-crisis averted...unless, of course, they're 950 dollars.
 
Tom Gleeson said:
Justin,

If you select the clean feed on the Epic is the image on the HDSDI output full frame or does it have the black borders?
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It depends what aspect ratio you are recording...if you are recording 16x9 there are no bars. FF (means using the full sensor) on Epic/Scarlet is slightly less vertically than 16x9. Quad HD doesn't have black bars for example...
 
BrandonChristensen said:
Oh good!

I wasn't planning on dropping my deposit until near the end of the year (gotta lock that price down), so I should be good to go.

Mini-crisis averted...unless, of course, they're 950 dollars.
Click to expand...

The quad battery module is coming first and will be $1950.00. I remember hearing something about a dual battery module but I'm not sure how much it is.

If you are looking for a low budget solution a v-mount battery plate with the Epic/Scarlet Lemo cable is the cheapest way to go...usually around $150. This allows you to use pretty much any v-mount battery out there and they will last way longer than the REDvolts.
 
Justin O'Neill said:
The quad battery module is coming first and will be $1950.00. I remember hearing something about a dual battery module but I'm not sure how much it is.

If you are looking for a low budget solution a v-mount battery plate with the Epic/Scarlet Lemo cable is the cheapest way to go...usually around $150. This allows you to use pretty much any v-mount battery out there and they will last way longer than the REDvolts.
Click to expand...

Cool, thanks Justin!

Trying to save wherever I can!
 
I was just at Atomos' offices a couple of hours ago, the guys ran me through the Ninja and Samurai systems on a range of cameras (including an Epic outputting to a Samurai).

We're going to organise a comprehensive test of the system for the relaunch of 16:9 Magazine (and will go into detail then), but for a very basic evaluation of 1080p Epic captured to Pro-Res through the HD-SDI port:

- Super sharp (the image has spectacular detail)
- Some noticeable vertical-pattern colour noise in the blacks (which isn't too obvious until you boost the darks up)
- The most wonderfully easy post-workflow I've ever seen
 
Why anyone here would want to recorde 1080p @ 4:2:0 & 4:2:2 colour space is just beyond me....unless for quick playback on set, but i think many here that have even purchased the scarlet need to consider WHY even they bought into a RED product--RAW, RAW, RAW. If you want to shoot prores & very nice images and have no need for RAW, then look into a VARIETY of cameras that do it really well and affordably. RED is not what you want nor need if you don't get the concept of shooting RAW R3d images.
 
Johnny Friday said:
Why anyone here would want to recorde 1080p @ 4:2:0 & 4:2:2 colour space is just beyond me....unless for quick playback on set, but i think many here that have even purchased the scarlet need to consider WHY even they bought into a RED product--RAW, RAW, RAW. If you want to shoot prores & very nice images and have no need for RAW, then look into a VARIETY of cameras that do it really well and affordably. RED is not what you want nor need if you don't get the concept of shooting RAW R3d images.
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Because some people want options.
 
Mark, i can see you don't get what i'm saying then. I want to shoot prores---run and gun, i'll pull out an EX1 or anything similar. Shooting RED with Keypro or other devices....i can't recall the one i tested many months ago...but colors were horrible at mpg 2 and 4:2:0 color space...my red then became a dummed down VX1000 basically....anyway, i think the end result here is right tool for the job...so if you plan to drop $2k or more on external recording devices that get you (in my opinion) substandard results....best to get better results with another camera. If you have clients that don't want you to shoot RAW and color your clips to best possible result, then shoot an ex1 or hvx 200 or cannon 5d...you'll get FAR SUPERIOR results than shooting through your RED to a prores recording device. And, you'll have a second camera to shoot with. You just take the entire premise of shooting your Scarlet out of the equation. I think you are better off to convince your clients WHY they should have you shoot RAW instead of trying to tell them WHY you should shoot prores through your RED....you have a lot more competition out there that can do a better job to prores than you can through your RED to an external device. And you shouldn't be afraid of the workflow if you are jumping into RED...yet you should jump in and find how to perfect it and make it work for you so that your work can stand out and then show WHY to utilize you and your RED.....

EDIT: and adding hours to your post work flow....well, not sure what you are doing, but transcoding properly with proper tools is not difficult and really doesn't add a whole lot when you are involved in post anyway...unless you are just handing over an ungraded; uncolored raw prores file...then again, my same reply, why even buy RED? Use that tool for what it can offer and know it and sell it.
 
Johnny, the reason I'd like it is to have the option. I want to be able to use the Scarlet for a lot of different things.

I shoot anything from commercials to music videos to corporate stuff. And with corporate work, it isn't always easy to run and gun and dump the SSD's. To have the option to record for hours on a cheap 256GB SSD is very appealing.

I understand what you're saying, but if I have this option, I don't need to have two separate cameras. It slims down the amount of gear I have to take care of, and offers more flexibility.

RE: Transcoding...I don't have a Red Rocket, but to give you an idea...I just shot a couple of music videos on the RED. One I put through RedCine and it took 35 hours to transcode everything. The other I did Log & Capture in FCP7 and it took around 9 hours to take everything in.

I'm running on an 8-Core Mac with a lot of RAM...it's just, they're big files and take time to encode. Skipping that would be great for a lot of projects.
 
Guys, then a 5d is great for this...in considering again why to go RED...i can see no advantage other than RAW. And part of that process in evaluating if it works for you is to be able to accessorize it as such. you mention your transcode times......then a redrocket card is key if you have to get files completed "now", if you have time...you do all your one lights "now" and transcode overnight. But certainly knowing the capabilities of this camera and then affording it are two very different things...i mention this all for the sake of ANYONE going into RED as i found out 4 years ago and was in the same boat...i learned a lot coming from a quick shoot and post routine and learned that RED is NOT the camera for turn and burn projects. I also learned that i spend 3:1 in post on full color/post with redrocket and other tools at my disposal.

what many should know here is just this.....it takes a lot more than the RED/EPIC or Scarlet to make this camera work for you as it was intended to work. don't get me wrong, i get what you are saying...but i'd NEVER take a RED to that shoot you are talking about....go with all the RAGE a 5d or even an EX1. you'll get FAR better results than using your red and external recording device.

the big mystery unveiled for many a new user is that the popping and glorious looking RED images don't just pop out of this camera. They are worked in RAW. And to beat a dead horse......that's the reason to shoot it...and to sell it to your clients. But i'll leave it at that.
 
It's good to have options, for sure. I get what Brandon is saying and I agree. Render times without the Rocket are huge. And some clients won't get RAW, but want the RED Scarlet name.

But I also understand Johnny's point. I am lucky enough to be able to get the Scarlet package with the SSD, so redcode will be first choice always....and, can't I record to both redcode and proress simultaneously and use the proress files to edit, then conform/online with the redcode files?
 
Im a bit of a noob when it comes to using RED let alone owning fulltime ready to go, but i do tend to agree with mr J friday. A lot of people [including me briefly] are probably thinking options and time and oh i could shoot my corporate on a RED and blah blah, but i for one , have reassessed all that and come back to the pure rational for buying a RED. That is to shoot the stuff its meant for. Of course people will be fast to find exceptions , but things its NOT intended for would include long form doco, corporates , training videos, events (eek!) , even a lot of TVC and mus vid projects and any sort of long stand around or fast turn around stuff, it just isnt what RED was designed for. My plan for little Scarlet when she comes out of the case is to shoot a lot less and shoot it a lot better, feel the power of the RAW environment and save it for drama and projects where clients dont need it yesterday and do appreciate what the cameras can do. Theres no way id dump my Mk II .. itll still be going out on most of the jobs i do [often with a workflow friendly EX] And all the Scarlet buyers [including me] should be wary about pulling out the RED just cause ..well.. they can pull out the RED
my 2 oz cents .com!
 
Johnny Friday said:
Guys, then a 5d is great for this...in considering again why to go RED...i can see no advantage other than RAW. And part of that process in evaluating if it works for you is to be able to accessorize it as such. you mention your transcode times......then a redrocket card is key if you have to get files completed "now", if you have time...you do all your one lights "now" and transcode overnight. But certainly knowing the capabilities of this camera and then affording it are two very different things...i mention this all for the sake of ANYONE going into RED as i found out 4 years ago and was in the same boat...i learned a lot coming from a quick shoot and post routine and learned that RED is NOT the camera for turn and burn projects. I also learned that i spend 3:1 in post on full color/post with redrocket and other tools at my disposal.

what many should know here is just this.....it takes a lot more than the RED/EPIC or Scarlet to make this camera work for you as it was intended to work. don't get me wrong, i get what you are saying...but i'd NEVER take a RED to that shoot you are talking about....go with all the RAGE a 5d or even an EX1. you'll get FAR better results than using your red and external recording device.

the big mystery unveiled for many a new user is that the popping and glorious looking RED images don't just pop out of this camera. They are worked in RAW. And to beat a dead horse......that's the reason to shoot it...and to sell it to your clients. But i'll leave it at that.
Click to expand...

The 5D/7D is extremely limiting for those applications, too. And HPX170/HVX200 would be a better option, but if I can buy a camera that can serve me when I'm shooting music videos/commercials/narrative work in 4K and also when I am shooting something that doesn't need that...why not? I hear what you're saying, but everything you're saying involves having entirely different gear with a different system.

If I can just switch between an external recorder and SSD's depending on the shoot, that works much better for someone like me, who does a lot of different things.

On the last one we shot, where I just went through Log and Transfer, we shot with RedCode (I believe) and the footage looked fantastic. Didn't have to tweak much at all. The one before, that i put through RedCine, it wouldn't have been possible to get what I shot without going through the RAW process.

Regardless, it's all about options for me.
 
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