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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 :)

REDCODE...

Extremely.
That said, REDCODE + ProRes (or equivalent) -- simultaneously, without a third-party product and without everything else (including the price tag) in the Meizler Module would be even better. There are PLENTY of us who light carefully, often need minimal grading, have clients without a Rocket card (or extremely short deadlines), and who output for REC 709 display. Sure there's a PIX 240. But a small, integrated module without the unnecessary LCD and audio circuitry would be far better. And soon. Very soon.
 
Terry VerHaar said:
If I recall correctly, Graeme or Deanan or somebody at RED once said that at 2.5 compression, REDCode was mathematically lossless. Meaning, of course, that when decoded, the file was identical to the original capture prior to compression. Also, remember that RED compresses the raw data - that is prior to any interpretation.
Click to expand...

Ah Thankyou! I would take mathematically lossless to mean actually lossless too! Maths doesn't tend to be wooly about these kinda things!
Which recode mode supports 2.5 compression tho?

love

Freya
 
After having properly lit and exposed (of course), I purposefully did a take on set at 10,000Kelvin and 12,800ISO just to prove that point to my client. After "correcting" the shot in camera during playback, he was shocked.
 
Freya said:
Ah Thankyou! I would take mathematically lossless to mean actually lossless too! Maths doesn't tend to be wooly about these kinda things!
Which recode mode supports 2.5 compression tho?

love

Freya
Click to expand...
It doesn't exist yet. Perhaps they'll enable it with the faster 512 GB Redmag.
 
From a Scarlet viewpoint , REDCODE is giving me over $10k of production value, and it's almost like i'm getting the camera for free. I was watching the behind the scenes editing and vfx of "Girl With Dragon Tattoo" blu-ray ... and from a production value viewpoint, i'm able to do everything that the major movie is doing with my little Scarlet ... it's kind of insane value when you think about it.
 
Scott Auerbach said:
Extremely.
That said, REDCODE + ProRes (or equivalent) -- simultaneously, without a third-party product and without everything else (including the price tag) in the Meizler Module would be even better. There are PLENTY of us who light carefully, often need minimal grading, have clients without a Rocket card (or extremely short deadlines), and who output for REC 709 display. Sure there's a PIX 240. But a small, integrated module without the unnecessary LCD and audio circuitry would be far better. And soon. Very soon.
Click to expand...

I shoot cinema so will respectfulyl defer on commenting other than to say Sputnik Pictures is a KILLER name and Im very jealous :)
 
Mark Toia said:
NO REDCODE

NO RED....


SIMPLE as that..
Click to expand...

REDCODE and the REDRAY codec will be the greatest IP RED will and has developed and will be the lasting legacy of the company.
hardware and cameras can come and go but capture and delivery is where the image is born and lives on.

kudos to Graeme and RED for understanding that and I think the forthcoming consumer marketplace announcements and deployment will be the first step in RED's larger marketplace assault outside of the "relatively small" camera market.
 
I can pull off shots with less amounts of lights and a smaller studio thanks to the capabilities of Redcode. SO:

Redcode = mo' money for me
 
Mohammed El Sharqawy, There will NEVER be an useable RGB version from Red, they are totally committed to the “R3D REDCODE File System”, it’s what separates them form ALL THE OTHERS!

Humberto Rivera
 
REDCODE is one of the biggest benefits of a RED-camera. I was always enthusiastic about having RAW in a motion camera before i got my Scarlet, and when i got it, it did blow my mind. I'm stll having a big smile in my face when i play around with R3D files sometime. And think about it, we have not only footage thats already "enough" for UHDTV and Digital Cinema, nope, we have also enough information in those files to re-render it one day with higher bit-depth.

4k and REDCODE are the most important inventions in digital cinema, both together did allow to replace film without loss of quality, it wouldn't have worked with just one of them. Others still try to get near to REDCODE, which is amusing, because how long do we have it now? RED did it right, years ahead of everyone else... Doing the hard work by designing custom ASICs and all the involved software, done by a underdog/newcomer... That alone is a unbelievable big achievement. REDCODE deserves a tech-oscar on its own.

Can't wat to see the next steps, the REDRAY-player and maybe even more bits with the updated Dragon chipset? ;)
 
We need the Dragon sensor to handle highlights better than film,
for it to shoot in the dark and...
We need cheaper more reliable Dragon compatible Red Rockets.
And cheaper SSD's
And a more compact stripped down ProRes / DNxHD module

Then Redcode will shine to the masses who are scared off it and shoot Alexa
 
Any chance of getting "Fill" and "Recovery" sliders in RCX like CinemaDNG and ArriRAW have?

Not sure of the math (and nonlinearity) behind those functions, but they seem to do what curves can't (as in, the images remain balanced - they never appear odd or with less contrast/saturation - despite the massive changes that can be done with Fill/Recovery... it's crazy).
 
“R3D REDCODE Files Rules”, the industry need TO CATCH UP, not the other way around, the OLD SYSTEMS HAVE SERVED THEIR PURPOSES, now it’s time for the New Kid on the Block holding its U. S. Patent in HAND, that fact cannot be changed. Eventually the industry WILL CATCH UP; meanwhile we wait for the new “6K Dragon Sensor” and what it brings!

Eventually, “Render Times” will have to adjust to the “R3D REDCODE Files” or be left behind, I know it seems like an IMPOSSIBLE DREAM, but so was the invention of “R3D REDCODE Files”, the 2K World need to keep-up with Red rapid advancements, they have been “LEAP FROG BY A FACTOR OF FOUR”! Established VFX Software Packages need to start thinking about a transition to “R3D REDCODE Files”, it will happens, 4K, 6K or whatever comes after that, we need to start thinking about “Resolution Independent” “R3D REDCODE Files”! How is that going to be done; I don’t know, BUT IT WILL-BE!

For those of you who have not seen my two post, I address this subject on an email I send to the people at SGO Mistika, and shared with however was interested on the subject; http://www.reduser.net/forum/showthread.php?87365-Some-Thoughts and at http://www.reduser.net/forum/showth...1-DCI-Container-with-1-9-1-Extension-for-IMAX

Humberto Rivera
 
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