Red One Pipeline Diagram v1.0

[Andrew M.]

Nice work Michael. I see some other discrepancies:

1) there is no Firewire 800/400 port on the camera

2) the USB port on the camera goes straight to a computer

3) eSATA only connects to RED-DRIVE & REDFLASH, not to your computer

4) RED-DRIVE will most likely have Firewire 800/400 & USB2

eSATA only connects to RED-DRIVE and RED-FLASH?
Can we presume that we can unplug the RED-DRIVE from the camera eSATA connector and plug it to PC eSATA connector and PC running REDCINE will recognize it as a source of RAW material?
Transferring via Firewire is OK but 4 to 8 times slower.

Andrew

 

[Rob Lohman]

Firewire 800 is fast enough, even USB 2 should in theory be fast enough. I didn't comment on RED-DRIVE to your computer through eSATA, I just don't know.

That would be a Stuart question. We'll see if he responds in here. Otherwise that might be a thing that's still worked out.

 

[Stuart English]

e-SATA to Mac / P.C

e-SATA to Mac / P.C

If you have an e-SATA port on your Mac / P.C then you should be able to mount the RED-DRIVE using that interface, but be aware you will need to create a special cable and also supply the drive with external power (as e-SATA does not provide that over the bus)

For most users connecting RED-DRIVE via Firewire 800 may be less of a hassle..... one cable, easy to source, power via the bus etc ...

Still, always good to have options.....

 

[Shaun Au]

under Redcine Process column, is there an "exposure" option missing? I mean Redcine can adjust the Raw exposure in a certain degree, right? Maybe -/+ 1 stop?

 

[GlennChan]

It's probably easier and better to adjust exposure in your grading/finishing program. It's a simple multiple operation on the RGB channels / gain.

 

[Rob Lohman]

All subject to change, but at the moment REDCINE has the following controls:

- White balance (Kelvin / tint)
- Saturation
- Gain
- Exposure
- Brightness
- Shadow
- Contrast
- Curves
- Output gamma
- Resizing, cropping & positioning

Rob

 

[b e n t o n]

Interesting Thread.
A few questions on the diagram:
1) It looks like frame rates at 2 & 4K are limited to 30/60
2) It appears that ther is no longer FW800 on Cam and the usb is for controlling only - so...would HD-SDI capture into a laptop running REdCine Viable using something like the following (note:not availabe yet):
http://www.mobilityelectronics.com/expansion/products/expressbox1/expressbox1.html

Thanks,

 

[Rob Lohman]

1) with REDCODE RAW yes, with RED-RAID you can go up to 4.5K @ 60 fps and 2K at 120 fps (your line should read 60/30, not 30/60)

2) indeed no FW800 on the camera. REDCINE doesn't have capture, so no. I also don't really see what an external PCI Express system has to do with this?

 

[b e n t o n]

Thanks Rob,
sorry still slightly confused - are you sugesting no 24fps @ 2/4K

 

[Rob Lohman]

No, REDCODE RAW 2K up to 60 fps, 4K up to 30 fps. In the order you put it, it looks like it's 2K @ 30 and 4K @ 60.

 

[Jeff Kilgroe]

Thanks Rob,
sorry still slightly confused - are you sugesting no 24fps @ 2/4K

There's 24fps... Actually there's fps settings that are rampable from 1fps all the way up to 30fps or 60fps (or even 120fps via 2K uncompressed out to RED RAID at some point via the RAW port). ...Depending on your shoorting format and record method.

...At least that's how I understand it and I'll be seriously depressed if this isn't the case.

 

[Joe Carney]

If you have an e-SATA port on your Mac / P.C then you should be able to mount the RED-DRIVE using that interface, but be aware you will need to create a special cable and also supply the drive with external power (as e-SATA does not provide that over the bus)

For most users connecting RED-DRIVE via Firewire 800 may be less of a hassle..... one cable, easy to source, power via the bus etc ...

Still, always good to have options.....

eSata cables are available for purchase, and if the external drive power requirements don't exceed 5v, you can use a usb2 to dc pin cable directly from your pc or laptop. Not as elegant, but doable.

 

[tj williams]

Michael are there two outputs for monitoring one for the lcd and another for the viewfinder. Often we run an LCD monitor atop the camera for asst. and dir. to quickly see the shot. Your chard seems to indicate two outputs to 720P no matter what format we are recording, otherwise it would be 1 line with a Y right?

 

[tj williams]

Great solution if you have a really nice HD lens. Abakus site says price converted to US$ today is #132 S16Conv $2652 #260 Super 35m $3811 possibly more realistic price fm Les at ZGC in NY is $3500 and $4250 making this a somewhat expensive solution.

 

[Michael Morlan]

Michael are there two outputs for monitoring one for the lcd and another for the viewfinder?

T.J.,

I currently understand there is an output for each.

Here's the latest:

 

[Andrew M.]

Stuart did ask the question in other thread if we would like the same interface for EVF and LCD

Asking such question implies that two separate ports are contemplated but the question is if it should be:

LCD -> HDMI port
EVF -> HD-SDI
or
LCD -> HDMI port
EVF -> HDMI port
or
LCD -> HD-SDI
EVF -> HD-SDI
or
LCD -> ??
EVF -> ??

I rather see both ports as a HDMI for the cost reason.
Also I do not expect to have more than few feet of cables.
If I need 20' or more for remote monitoring I will take it from dual HD-SDI port.

Andrew

 

[Stuart English]

RED Monitor Outputs

RED Monitor Outputs

There are four independent monitor outputs...

EVF - 720p video with look around, frame markers and other graphics.

LCD - 720p video with look around, fame markers and other graphics.

HDMI - 720p video plus audio without graphics.

HDSI - 720p video plus audio without graphics.

Note - The monitor HDSI is independent of the Dual Link HDSI, which supports a wide range of HD formats and frame rates.

 

[Dominic Jones]

I know I might be late to the party here, but I've just read this thread and I'm grinning from ear to ear that the most advanced, bleeding-edge, revolutionary video workflow currently in development *still* manages to have a sneaker net as one of it's links!!!

You just gotta love technology!...

 

[Nick Shaw]

There are four independent monitor outputs...

EVF - 720p video with look around, frame markers and other graphics.

LCD - 720p video with look around, fame markers and other graphics.

HDMI - 720p video plus audio without graphics.

HDSI - 720p video plus audio without graphics.

Note - The monitor HDSI is independent of the Dual Link HDSI, which supports a wide range of HD formats and frame rates.

So Stuart, am I correct in inferring the following from this info:

1. Only the LCD and EVF can display frame markers and graphics. These cannot be duplicated on the HDMI/HDSI outputs. Might it not be useful if the graphics could be switched on and off on the HDMI/HDSI outputs so that others on set not right next to the camera could see relevant information?

2. The HDMI/HDSI monitoring outputs cannot be switched into any mode but 720p. Is this because HDMI only supports 1080i not 1080p, so monitoring resolution is being sacrificed to preserve a progressive display? Might it not be better to allow the user the option to choose between 720p and 1080i depending on the circumstances? I guess you could use the Dual-Link HD-SDI output for 1080p monitoring, but Dual-Link monitors are rarer and more expensive.

3. The monitoring output is always 60p. I'm assuming 60 rather than 50/60 switchable as 60p is the default for 720p. 720p50 is a newer standard, which is not supported on many HD monitors (including my Panasonic BT-H1700P.) What then do the monitor outputs display when the camera is running at 'non-standard' frame rates? Can I eg shoot at 25fps, and have the monitor output use a form of pulldown to pad the frames up to 60p. Equally if shooting at 120fps, does the monitor output simply display every other frame at 60p?

Thanks

Nick

 

[Nick Shaw]

Following on from my last thought, in fact I hope that the 720p monitoring outputs can be switched to run at 720p50. Since I will probably be mostly shooting at 25fps, I may well want to run a PAL downconvert of the picture for non critical viewing elsewhere on the set. It would be nice to simply use something like the AJA HD10MD3 but if the 720p output is 60p only, I could only easily downconvert that to NTSC. That means that the only way to get a frame-for-frame PAL downconvert would be to use the Dual-Link HD-SDI output, but the AJA converter does not take Dual-Link inputs. That means a bigger, more expensive, non camera mountable converter.

Given that the RED does not have SD outputs, then keeping the HD outputs as flexible as possible would certainly help.

Nick